The curtain rises, and any doubt in the room dissipates with an exploding big bang as Dwight Rhoden’s Moon Over Jupiter takes shape over Rachmaniov’s score.  A meteor shower of momentum and dynamics, the ballet showcases the extreme unique talent and technique of all the Complexion dancers.  Like an orbiting solar system, the dancers move in organized chaos into an eclipse of synchronization.  Metallic, spider webbed leotards and shorts expose the dancer’s thoroughbred, horse-like muscularity, direct proof that these dancers are pushing their physical means.  Clifford Williams, the shooting star of the ballet, demands attention with phenomenal extension and effortless fluidity of movement that only the trained eye would understand the extreme complexity and challenge of the choreography.

On Holiday opens part duex of the evening and relies on the show business aspect of dance.  Slightly reminiscent of Twyla Tharp’s Nine Sinatra Songs, On Holiday is danced by four couples expressing four stages of love.  Each couple embodies the lyrics of Billie Holiday, but Christina Dooling and Edgar Anido really transport the audience to a Love-Hate relationship. Intensity and heartache emanate through the audience as Doling and Amide manipulate each other to provide a heart wrenching performance.

Originally, to follow On Holliday, is Richardson to dance A Goldberg Variation, but instead, Christie Partelow and Mark Caserta dance Rhoden ‘s Spill.  Entering with abandonment in a grand jete lift, Partelow and Caserta leave you with no regret from missing Richardson’s performance.  In complete unison, they dance in a continuous stream of intricate and exhilarating partnering.  Like riding a rollercoaster of constant excitement and unexpected turns, Rhoden’s Choreography escapes all predictability confirming his much revered status in the realm of today’s contemporary choreographers.

A fun and lively Moody Booty Blues is like the after hours employee dance scene in “Dirty Dancing” where Baby meet Patrick Swayze for the first time.  The dancers dance fearlessly with grounded movement and soulful rhythm.  Moody Booty Blues showcases the young talent of Complexions;  Gary W. Jeter II sets a very high bar with his opening solo of insane syncopations and intricate isolations and Peter Chursin and Stefano DeMartino match Jeter’s energy.  Chursin is especially captivating with his flawless technique and exquisite lines.  After grabbing my attention, I couldn’t stop watching Chursin in the finale piece Rise.

Rise, which Rhoden choreographed to various songs by U2, opens with the song “The Streets Have No Name” and one man running in the spotlight.  High impact choreography plus Bono and the Edge guarantee an awesome performance.  I have seen U2 live in concert several times, and the Complexions Dancers even give Bono some competition.

Complexion dancers are a dynamic breed of physicality that is unparallel to most contemporary and ballet companies.  The dancers elevate the choreography and provide a powerful performance of non-stop impressive feats.

Complexions Fall/Winter season continues to run through November 28^th at the Joyce Theater.

iDANZ Critix Corner
Official Dance Review by Katherine Gibson
Performance: Complexions
Choreographer: Dwight Rhoden
Venue: Joyce Theater, New York, NY
Show Date: Tuesday 16th, 2010
www.iDANZ.com 

Have You Seen the iDANZ Social Network?

Click Here To Become a Member
of iDANZ.com Today!
The More Members We Have, The More We Can
Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Share on Facebook

New Jersey Dance Theater Ensemble immediately follows this performance with dancers rushing forward with explosive jumps first in a trio then all.  An emergency and freedom bellows out from the music that the dancers react to in pain.  They walk slowly to the percussive beats then repeat a sequence of intricate fast movement in unison.  All rise and fall in a circle then collapse to the floor in an exciting finish leaving the audience in awe.

Dwight Rhoden greets an excited audience with his introduction of Complexions Contemporary Ballet.  Complexions opens the show turning Central Park Summerstage into a cathedral with Mercy.  The dancers are angels in white who dance to various spiritual chants, rhythms, and gospel.  First four women then five men enter and exit through red streamers.  A male soloist in red makes a striking presence as he pleads for mercy with clear technique, extension, and passion.  He acts as a man knocking on the door of heaven.  Men exit lifting him above their heads as women enter with fast bourées.  Large booms in the music signal the climax when the men fall from grace, and the dancers return with black buckets beneath them while circling, rising, falling, and extending into beautiful balletic lines.  At the sound of bells, a soloist woman enters in a purple corset with her long curly hair flowing as she promenades á la second into precise turns and jumps in second position.  On "boom," all run and explode while men fall to the floor before rising into forward attitude swings.  Lines run through each other.  Women dig heels into the floor as a fire-like intensity rises from the earth to above that shakes their upper torsos in a trance.  All of us have experienced mercy-the audience is clearly relating as they sit on edge of seats.

The stage lights lower to black out, and the mood immediately changes.  Summerstage is now a smoky club scene with a solo performance of Moonlight by the extraordinary Desmond Richardson.  He enters with a chair and sits as the audience eagerly awaits his next move. His fluid movement articulates every word and expression of the vocalist. “What color is my soul if loneliness is black,” are the lyrics of the song.  Showing strength and passion, he powerfully extends muscular limbs reaching a leg in extension and an arm in presentation of a red flower to the audience.  His turning inward to contract and releasing out to reach to the audience is beautiful poetry in motion.

The mood remains intense with feelings of love and the blues as Billy Porter and a jazz trio accompany the dancers on stage.  Four couples seductively stand together in hues of red, blue, green, and purple.  Each couple dances their love story expressing a different feeling and interpretation of the songs of Billie Holiday.  Each movement shows the perfect blend of jazz ,contemporary and ballet vocabulary.  The dancers evoke feelings of despair, love, rejection, anger, and the resolve of being together again with a significant other.  It is a beautiful premiere of a new work by the company.

The dancers of Complexions close the show running in place. One dancer starts then others join in filling the stage with excitement and the sounds of U2. Rise, a popular audience favorite, causes immediate response with people standing, clapping and singing along.  Dancers now invite all to enjoy the power of movement for the finale.  Bright hues of red and orange light up the stage as dancers jump, leap, turn, run forward, pass through one another and stop to boogie down and rock.  Complexions finishes brilliantly with several rounds of applause.  What a delight to see the audience leaving in celebration continuing to clap out and dance to themselves as they exit!  It is a “Beautiful Day” for Complexions Dance Company and a perfect night for dance at Central Park Summerstage.

All Photography by Michael Seto

iDANZ Critix Corner
Official Dance Review by Carmen M. Carriker
Performance: Summer Stage Presents Complexions Contemporary Ballet
Venue:  Summerstage in Central Park 
Show Date: August 10, 2010
www.iDANZ.com

Have You Seen the iDANZ Social Network?

Click Here To Become a Member
of iDANZ.com Today!
The More Members We Have, The More We Can
Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Share on Facebook

Complexions Contemporary Ballet is bringing in its 15^th anniversary with a bang!  This season at the Joyce Theater, Complexions has a variety of programs that covers the many shades of dance through the eyes of artistic directors, Dwight Rhoden and Desmond Richardson.  What’s most exciting about this season, besides the dancers being more beautiful than ever, is seeing the work of company veterans such as Jae Man Joo and Juan Rodriguez on the line-up.

Program C opens with Mercy, a New York premiere choreographed by Rhoden and Richardson.  This piece shows no mercy on the audience or the dancers in this beautifully constructed thirty-five minute work that portrays personal strife and spiritual struggle.  The beauty of Complexions Contemporary Ballet is the impeccable technicality and artistry of every single one of its dancers.  Mercy is an awe-inspiring and heart felt performance that leaves the audience wanting more!

Mirror Me (2009 premiere), choreographed by company member Juan Rodriguez, is a pointe trio performed by Patricia Hachey, Natalia Alonso, and Simon Silva.  This carefully crafted work depicts the many aspects of the human self and the conflict between these varying aspects.  Rodriguez’s use of classical ballet vocabulary, in a way well-suited for this piece, creates a nice contrast with the subject matter.

Dirty Wire (2009 premiere), choreographed by Dwight Rhoden, is a fierce duet executed ever-so-flawless by Edgar Anindo and Christine Paretlow.  Anindo and Partelow are the perfect mix of sugar and spice as they weave through each other’s space and around each other in risky balances, sensual lifts, and captivating moments of being completely in tuned to each other.  Partelow’s picture perfect lines and command of the space gives her that extra edge that keeps your eyes fixed on her.

Atmosphere (2009 premiere) by company member, Jae Man Joo, is my personal favorite in this program.  In this piece, the audience gets to see Complexions in a whole new light, literally because of the light fixtures placed on stage, and artistically through Joo’s style.  As the piece unfolds, the dancers create an amazing ambience like wonderful illustrators on an open canvas. This piece is less about displaying extraordinary technique and more about showing each dancer as an individual artist with something very unique to offer.

The evening closes with Rise (2008), an audience favorite choreographed by Dwight Rhoden.  This piece, performed to a U2 medley, is a jazzy, high energy, clap along favorite!  The audience has just as much fun as the dancers as they close the evening with high spirits and fuzzy feelings on the inside.

After 15 years of taking the New York contemporary dance scene by storm, Complexions is looking better than ever! The breathtaking facility and ability of the dancers is still wowing the audience and leaving most people speechless.  I look forward to seeing the company take their success to new levels and venture into the unexpected during the next decade!

iDANZ Critix Corner
Official Dance Review by Simone Sobers
Performance:  Complexions
Choreography:  Desmond Richardson, Dwight Rhoden, Jae man Joo, Juan Rodriguez
Venue:  The Joyce Theater
Show Date:  November 24, 2009
www.iDANZ.com

Have You Seen the iDANZ Social Network?

Click Here To Become a Member of iDANZ.com Today!
The More Members We Have,
The More We Can Make a Difference. 
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Want to stay connected to iDANZ?  Join our network
using the following services:

Share on Facebook

Complexions Contemporary Ballet presents a program of crowd-pleasers.  Dubbed the “15th Anniversary Medley # 1: A collection of audience favorites,” the program shows off the variety of repertoire the company has accumulated.  With beautifully constructed physiques the dancers articulate artistic abstractions.  Exhilarating, daring athleticism is displayed by the dancers whose superb skillfulness is masked in a feeling of spontaneity.

The first work on the program predates the founding of Complexions in 1994, appropriately titled, “Growth” (1991), the piece portrays an individual striving for self development, searching for substance in the space surrounding him.  Here dancer Gary W. Jeter II attacks each movement in a conquest for truth, expressing the 15th anniversary season’s theme of “Love, Sweat, Tears.”

“Momentary Forevers” (2007, Excerpt) is a fierce pas de deux with Natiya Kezevadze and Juan Rodriguez in futuristic citrusy orange costumes by Christine Darch.  The cursive choreography by Dwight Rhoden expresses deep sentimentality of the dual’s permeate and fleeting qualities of romantic relationships.

“Gone” (2000) is a highlight of the show, with amazing virtuoso performances by Cifford Williams, Philip John Orsano, and Edgar Anido.  A powerful dance of masculinity and strife, the dancers’ toned bodies soulfully sculpt space and time. 

Like a Broadway classic, “Showman’s Groove” (2005) plays to the audience as the duo Joo Hwan Cho and Christina Dooling physically flirt through challenging turns and high kicks finished off with jazz hands and dazzling smiles.

“Fall” (2008) is the one piece choreographed by Desmond Richardson on the program and is less dramatic than its title suggests.  The costumes by Epperson are interesting- long skirts with satin panels reminiscent of stained glass cut short in the front to show off the dancer’s legs.  Natalia Alonso, Patricia Hachey, and Wendy White Sasser dance wonderfully together, none outshining the other.

“Ave Maria” (1995) is a must-see piece and a must-have for a program of audience favorites.  Set to lovely operatic tones, the complex contemporary pas de deux is executed masterfully by dancers Hiroko Sakakibara and Simon Silva.  Certainly a favorite, the audience cheered like fans at a football game mid-ballet, and my dancer friend turned to me to ask, “Where’s my popcorn and beer?” 

Following intermission, Rise (2008) features multiple songs by the pop sensation U2, with pop/rock-star choreography to match.  With moments of brilliance, some of the choreography reminds me of recital dances, with dancers in simple lines and performing predictable cannons of movements. Most disappointing is that the song “Beautiful Day” is used merely for bows, though at this point the audience is standing, cheering enthusiastically. 

After 15 successful developing years I must admit, well done.  Complexions has succeeded in developing a unique culturally viable identity within the New York City landscape that has permeating influences in the world of dance through its advancement of contemporary ballet.

iDANZ Critix Corner
Official Dance Review by Lea McGowan
Performance: Complexions Contemporary Ballet
Choreography: Dwight Rhoden and Desmond Richardson
Venue: The Joyce Theater, New York City
Performance Date: Sunday November 22, 2009
www.iDANZ.com

Become a Member of iDANZ Today!   iDANZ – The Social Network Where Dancers Live!

Have You Seen the iDANZ Social Network?

Click Here To Become a Member of iDANZ.com Today!
The More Members We Have,
The More We Can Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Want to stay connected to iDANZ?  Join our network
using the following services:

Share on Facebook

If you are in that camp that only wants to see super-human trinas with well-toned, to-die-for bodies, crazy extensions, and legs for days, then Complexions is the dance company to see.  For their 15th anniversary season at The Joyce Theater, Complexions presents four brand new works.  Tonight, I get the chance to witness two of them.

The evening begins with a piece called Dirty Wire choreographed by Co-Artistic Director, Dwight Rhoden, of course.  The piece starts with dancers standing in a straight vertical line in a pool of light shining from above.  The dancers burst out from the line, dancing to rock music in movement that is very signature "Rhoden" -very technical yet fluid combinations of lifts, 180 degree penchés, and perfect splits.  This piece is a series of intricate duets showcasing Rhoden’s complex movement style that I can’t take my eye’s off because the movement demands that you look, and, essentially, study it so that you know exactly what’s going on.  In general, all of the couples are well-connected to each other, flawlessly working in, out, and around each other’s bodies as if they are one person.  I am drawn to Christie Partelow and Edgar Anido’s movement as they prove to be a very daring couple, trusting their entire being into each other’s hands.  I thought to myself, "man, if they mess up, they are really gonna fall on each other!"  Amazing…  It is this sort of edge that I am loving.

For Dirty Wire, I am captivated as I am often when looking at Rhoden’s movement, but eventually my eyes grow accustomed to his vocabulary.  To my reluctant dismay, the entire piece morphs into a series of duets that begin to look the same as technique overshadows any individuality and movement becomes almost predictable because the piece has the same formula throughout making me only wonder why, why, why…  What is this piece really all about?   As a reviewer, I choose not to look at program descriptions before I begin to view a piece; I try to feel what the choreographer is saying without any preconceived notions by solely looking at the material presented in front of me.  However, because the movement rides on top of the music (and not truly "in" the music), and only at times hits certain accents that the music demands, and does not develop any ideas beyond the movement vocabulary itself, it leaves me confused.   Watching these gorgeous dancers, though, is truly inspiring; everyone is ecstatic at the end, as I am too, but I am left wondering if I am the only one searching for some answers (maybe not, though, for I do hear people around me flipping through pages of the program most likely to find some sort of piece description).

Opening the second half of the show is a piece called Mercy, also choreographed by Rhoden.  The dancers perform only the first and second movement (as the piece is a saga in it’s entirety).  The piece is danced to a medley of mixed sanctuary; Muslim prayers and church hymns are performed over each other in a interesting, funky mix.  The music is comprised of a number of artists including Phil Kline, Michael Murray, Steve Reich, Mendelssohn, and Hans Zimmer.  At first, I begin to think that I don’t see much difference in this piece than the first one as the movement is all very signature.  However, the piece eventually breaks out of the mold as dancers fan in and out, asking for "mercy," emerging from curtains from the back of the stage adding a great touch.

Complexions is full of VERY talented, uber-technical performers, but, because Mercy has more of a "contemporary edge," it is this piece where I begin to see the difference in performance qualities of the dancers.   Some of the dancers, mostly the females,  I frankly just don’t "believe."  Although their technique is nearly flawless, I leave this piece longing to see more connection in their faces and intention within their artistry.  I am also bothered at some points as the dancers don’t really stay together in some of the movement.  As far as the males, they kick “you know what” in this piece, jumping up and down with hands in prayer position, falling into second position splits, and rolling over the shoulder all over the stage.  Athleticism?  …Yes!  …The intention? …Well, interpretable.  It is awesome, however, to see Desmond Richardson emerge from the curtain (one of the finest, most talented dance artist alive today) as he does a remarkable job (showing us dancers how it’s done) wrapping intention, emotion, and technique in one performance.  Solo dancer, Gary W. Jeter II, also grabs my eye with his committed performance and fierce attack.  This rather lengthy piece ends with a section performed to "Amazing Grace" which, again, is another place where I don’t "believe," and I feel this cast of dancers’ disconnection from the work bothersome as they lip sync some of the words. 

Overall, Complexions has acquired a solid bunch of dancers who are really at the top of their game.  The dancers’ technique is highly inspiring and the choreography is definitely a demanding challenge for any world class dancer to want to master.  I am looking forward to the day that they find that happy medium, that performance optimum that merges flawless technique with human connection.  For if collectively they can perform their passion anywhere close to their co-founder, Desmond Richardson, I know, as a company, they will go far… real far.

iDANZ Critix Corner
Official Dance Review by Joi Lynn
Performance:  Complexions 
Co-Artistic Directors: Dwight Rhoden & Desmond Richardson
Choreography:  Dwight Rhoden
Venue:  The Joyce Theater
Show Date:  November 17, 2009

www.iDANZ.com

Have You Seen the iDANZ Social Network?

Click Here To Become a Member of iDANZ.com Today!
The More Members We Have,
The More We Can Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Want to stay connected to iDANZ?  Join our network
using the following services:

Share on Facebook

Complexions Contemporary Ballet Returns to the Joyce Theater

For Its Milestone 15th Anniversary Season

Love, Sweat and Tears

November 17-29, 2009

Featuring Four Brand New Works,
Including Mercy and Dirty Wire by Dwight Rhoden

New York City, November 2, 2009 – Complexions Contemporary Ballet Artistic Directors and Co-Founders Dwight Rhoden and Desmond Richardson have announced the official programming for the company’s landmark 15th anniversary season at The Joyce Theater, entitled Love Sweat and Tears, taking place November 17-29, 2009.

Over the past fifteen years, Dwight and Desmond have created in Complexions an institution that embodies its historical moment, a sanctuary where those passionate about dance can celebrate its past while simultaneously building its future. Aptly, this year’s three distinct programs celebrate the company’s versatility with an exhilarating mixture of old and new. With four exciting and relevant premieres that explore the myriad challenges of a world in transition, the fall Complexions season tackles everything from politics, war and technology to identity, uncertainty, hope and the creative process itself. 
 

New Works

Mercy
Choreograhy by: Dwight Rhoden
Music by: Phil Kline, Michael Murray, Steve Reich, Mendelssohn and Hans Zimmer

Dirty Wire
Choreographed by: Dwight Rhoden
Music by: David Rozenblatt

Mirror Me
Choreographed by: Juan-Antonio Rodriguez
Music by: Zoe Keating, One Cello x 16: Natoma, Fern

Atmosphere
Choreography by: Jae Man Joo
Music by: Johann Sebastian Bach

PERFORMANCE SCHEDULE

Tuesday, November 17 at 7:30pm
Tuesday, November 24 at 7:30pm
Wednesday, November 18 at 7:30pm*
Wednesday, November 25 at 7:30pm
Thursday, November 19 at 8:00pm
Thursday, November 26 – OFF
Friday, November 20 at 8:00pm
Friday, November 27 at 8:00pm
Saturday, November 21 at 2:00pm
Saturday, November 28 at 2:00pm
Saturday, November 21 at 8:00pm
Saturday, November 28 at 8:00pm
Sunday, November 22 at 2:00pm
Sunday, November 29 at 2:00pm
Sunday, November 22 at 7:30pm
Sunday, November 29 at 7:30pm

*Followed by a special Dance Chat

TICKETS

Tickets start at $10.00. Tickets can be purchased by calling JoyceCharge at 212-242-0800, in person at the Box Office (Monday – Friday 12-6pm), or online by visiting www.Joyce.org. The Joyce Theater is located at 175 Eighth Avenue (at 19th street).

Have You Seen the iDANZ Social Network?

Click Here To Become a Member
of iDANZ.com Today!

The More Members We Have, The More We Can
Make a Difference. 
It’s Free!

iDANZ – The Social Network Where Dancers Live!

Want to stay connected to iDANZ? Join our network using the following services:

Share on Facebook