An Accomplished Dance Company with Heart and Spirit

19/04/2016

Various composers, Dwight Rhoden (choreography): Complexions Contemporary Ballet, Dorothy Chandler Pavilion, Los Angeles, 17.4.2016. (JRo)

Terk Lewis Waters, dancer with Complexions Contemporary Ballet (Photo: Jae Man Joo)

Terk Lewis Waters, dancer with Complexions Contemporary Ballet (Photo: Jae Man Joo)

Dancers: Doug Baum, Greg Blackmon, Andrew Brader, Jillian Davis, Addison Ector, Larissa Gerszke, Whitney Hester, Young Sil Kim, Shanna Irwin, Kelly Marsh IV, Ashley Mayeux, Kelly Sneddon, Nehemiah Spencer, Timothy Stickney, Terk Lewis Waters

Production:

BalletUnto…
Choreography: Dwight Rhoden
Music: Johann Sebastian Bach
Costume Design: Christine Darch
Lighting and Set Design: Michael Korsch

Gone
Choreography: Dwight Rhoden
Music: Odetta
Costume Design: DR Squared
Lighting Design: Michael Korsch 

Cryin’ to Cry Out/excerpt
Music: Jimmy Scott
Costume Design: DR Squared
Lighting Design: Michael Korsch 

Choke
Choreography: Dwight Rhoden
Music: Vivaldi’s The Four Seasons: “Summer”
Costume Design: DR Squared
Lighting Design: Michael Korsch 

Testament/excerpt
Choreography: Dwight Rhoden
Music: “Amazing Grace”/traditional
Costume Design: Jae Man Joo
Lighting Design: Michael Korsch

Imprint/Maya
Choreography: Dwight Rhoden
Music: David Rozenblatt with words by Maya Angelou
Costume Design: Christine Darch
Lighting Design: Michael Korsch 

Innervisions
Choreography: Dwight Rhoden
Music: Steve Wonder
Costume Design: Kelly Brown
Lighting Design: Michael Korsch

In a varied program of dances by Dwight Rhoden, set to music ranging from Bach and Vivaldi to Odetta and Stevie Wonder, Complexions Contemporary Ballet brought zest, excitement, and a troupe of charismatic dancers to the Dorothy Chandler Pavilion stage.

Co-directed by Rhoden and Desmond Richardson, both former principals with Alvin Ailey American Dance Theatre, Complexions presented six short dances (two were excerpts) sandwiched between two longer works. Combining classical ballet with modern dance inflected with jazz and hip-hop, Rhoden makes the most of his well-trained dancers.

The first offering, Ballet Unto… for seven couples, was performed in front of a black backdrop with dancers in minimal but effective costumes, in colors ranging from burnt orange to burgundy. The neoclassically inspired ballet opened on Terk Lewis Waters, a breathtaking performer of many gifts, including a pliant body of imposing stature. Paired with Bach’s keyboard music, the dancers, whether on point or in ballet shoes, attacked steps with classical precision, doing justice to the clarity of Bach’s vision. Handsome lighting illuminated their torsos and limbs, which seemed to cut through the atmosphere to create masses of solid, sculptural form.

If Ballet Unto… suffered from being overly long, the next six pieces were short and sweet. Gone, to music by Odetta, offered a powerful emotional experience, as three dancers—Kelly Marsh IV, Nehemiah Spencer, and Timothy Stickney—embodied the human struggle to find dignity amidst suffering. Cryin’ To Cry Out featured the voice of countertenor jazz singer Jimmy Scott. Mr. Waters, performing with Young Sil Kim, had the uncanny ability to make deep emotional states of being visible in dance.

Vivaldi’s “Summer” from The Four Seasons was the soundtrack for Choke, featuring the effervescent duo of Doug Baum and Addison Ector. Dressed in bright green, the puckish pair cavorted with diabolical energy. Testament, set to Amazing Grace, featured the exquisitely lithe and lyrical Ashley Mayeux partnered by a forceful Andrew Brader, in a pas de deux that posed questions of faith and spirituality, as the two dancers seemed to grasp for understanding, alternating between sudden sharp movements and legato phrasing. The last of the six pieces, Imprint/Maya, featured the words of Maya Angelou set to music by David Rozenblatt. Desmond Richardson, a magnetic dancer, gave a stirring performance of Angelou’s text.

In a celebration of Stevie Wonder’s music, the program concluded with Innervisions, a mostly joyful, unbridled frolic. With shades of disco infused with sly wit, Rhoden constructed a dance out of seemingly free form movements. One of his strengths as a choreographer is his ability to position dancers in what appear to be random arrangements, but which, in reality, are highly structured patterns. Though somewhat weakened by obvious popular references and the need for editing and cutting, the infectious nature of the piece captured the hearts of the audience.

With dancers like the kinetic Stickney, who combine technical rigor with high energy and individuality, Complexions Contemporary Ballet shines as an engaging company with heart and spirit.

Jane Rosenberg

 

Print Friendly, PDF & Email

Comments

Leave a Reply

Recent Reviews

MW

Facebook-button-1

Season Previews

__________________________________
  • NEW! The Royal Opera House’s Sundays for a Fiver Festival in November __________________________________
  • NEW! Opera Holland Park’s 2019 Season __________________________________
  • NEW! The Royal Opera House’s Linbury Theatre Reopens in December 2018 __________________________________
  • NEW! The Met: Live in HD in 2018/19 __________________________________
  • NEW! The Royal Opera House’s Exciting 2018/19 Cinema Season __________________________________
  • NEW! See Pop-Up Opera’s La Tragédie de Carmen this Autumn __________________________________
  • NEW! Oxford Chamber Music Festival October 2018 __________________________________
  • UPDATED! Zurich Opera in 2018/2019 and Beyond __________________________________
  • NEW! Wallis Annenberg Center for the Performing Arts
 in 2018/2019 __________________________________
  • NEW! Edinburgh Sunday International Concerts Series in 2018/19 __________________________________
  • NEW! Salzburg Whitsun Festival 7 – 10 June 2019 __________________________________
  • NEW! Bolshoi Ballet 2018/19 UK Cinema Season __________________________________
  • NEW! 2018-2019 Geneva Grand Theâtre Season __________________________________
  • NEW! 2018/19 Hallé Season in Manchester __________________________________
  • NEW! 2018/19 Tonhalle Orchestra Zürich __________________________________
  • NEW! 2018/19 CBSO at Symphony Hall, Birmingham __________________________________
  • NEW! 2018/19 BBC NOW in Cardiff and Swansea __________________________________
  • Subscribe to Review Summary Newsletter

    Reviews by Reviewer

    News and Featured Articles

    __________________________________
  • NEW! The Future of Opera is Theatre: An Essay by Casey Creel __________________________________
  • NEW! Jacqui and David Morris’s New Documentary Film Nureyev Celebrates a Unique Man and Dancer __________________________________
  • NEW! MAESTRO RICCARDO FRIZZA IN CONVERSATION WITH MARGARIDA MOTA-BULL __________________________________
  • NEW! JACK BUCKLEY’S MEMORIES OF LINDSAY KEMP (1938-2018) __________________________________
  • NEW! THE GESUALDO SIX IN CONVERSATION WITH GEOFFREY NEWMAN __________________________________
  • NEW! A Q&A WITH GERMAN SOPRANO PETRA LANG __________________________________
  • NEW! Opera Appreciation Talks this Autumn from Helen Astrid __________________________________
  • NEW! TENOR NICHOLAS PHAN IN CONVERSATION WITH CHRISTOPHER SALLON __________________________________
  • NEW! THE PIANIST GEORGE HARLIONO IN CONVERSATION WITH GREGOR TASSIE __________________________________
  • NEW! HOW TO CONTACT SEEN AND HEARD INTERNATIONAL __________________________________
  • NEW! A Major Work by Stanford to be Premiered – 99 Years Late! __________________________________
  • NEW! THE CONDUCTOR ALEXANDER SLADKOVSKY IN CONVERSATION WITH GREGOR TASSIE __________________________________
  • NEW! THE TENOR RUSSELL THOMAS IN CONVERSATION WITH MARGARIDA MOTA-BULL __________________________________
  • NEW! RAFAL BLECHACZ IN CONVERSATION WITH GEOFFREY NEWMAN __________________________________
  • Search S&H

    Archives by Week

    Archives by Month