Complexions Contemporary Ballet review

Complexions Contemporary Ballet returns to the Joyce for a two-week stay featuring two programs with works by Nicolo Fonte, William Forsythe and Abdur-Rahim Jackson as well as the company’s resident choreographer and co-founder, Dwight Rhoden. Known for its versatile and dynamic performers this year’s Complexions cast is no exception.

Rhoden’s opening piece Dear Frederic seems to be a race between the pianist and the dancers to the end. Henry Wong Doe’s frantic rendition of Chopin’s score trades accuracy for speed in a quest to outpace the dancers to the end. Admittedly the dancers give him a run for his money glossing through the choreography more intent on finding coming step than the quality of the current one. The only brief respite comes as one of the dancers calls to the pianist “Can we try something slower?” Obligingly Doe leads into a slower movement that yields a strong and graceful Pas de Duex, which is regrettably short lived. 

The Complexions dancers are without exception powerful and athletic, unfortunately Rhoden’s choreography seems to make technical ability an end in itself rather than the skill used to achieve an artistic end. Many of the solos have a competition dance feel as though created to showcase the dancer’s virtuosic abilities at the expense of any choreographic intent. The competitive solos choreographed for the men only add to this a ‘Stomp the Yard’ type mentality. 

The Pas de Deux from William Forsythe’s Herman Schmerman provides a welcomed relief. Compellingly danced by Drew Jacoby and, due to an emergency, Desmond Richardson, the true mettle of the dancers is shown in a skillful light. It is a starkly aggressive piece and defiantly individualistic for a Pas de Deux. Jacoby’s passionate stage presence complements this masterful work.

Bound by Nicolo Fonte brings out the grace and eloquence of the performers through subtle and unpretentious movement. The trio give a formidable controlled energy to the piece echoing the mystical overtones set by Vivaldi’s Stabat Mater.

The beauty and technical prowess of all of the dancers is a joy to behold, it is only the relentless overstatement of this fact in Rhoden’s work that becomes monotonous. In an evening by itself, Rhoden’s over-reliance on sheer athleticism would have seemed pretentious but set against works by Fonte and Forsythe it looks merely immature.

If you go:

Playing through November 25 at the Joyce.

Program A: Though 11/18 – Rhoden, Forsythe, Fonte and Jackson.

Program B: Though 11/25 – The Peace Project

Tickets: $44; Sunday Evenings $25; Joyce Members $33