A new genre of dance surprises in the BalletX summer series
The show features an older work, a work-in-progress, and a world premiere. And what a show it is!
Summer is the off season in the dance world, and BalletX’s summer series is the only major show in town most years. But what a show it is!
The company opened the series Wednesday night at the Suzanne Roberts Theatre. The program featured three ballets: one of its earlier works, a world premiere by this year’s choreographic fellow, and a work in progress.
All pieces were at least partially on pointe, which is unusual for this contemporary ballet company. And they were all highly theatrical.
The big surprise of the night was the premiere, Scales on the Wings of a Butterfly. The choreographic fellow works all year with a more established mentor, and this year’s fellow Noelle Kayser (who worked with mentor Marguerite Donlon) almost invented her own genre of dance.
Scales focuses on microscopic photography and videography and the beauty that we rarely notice. Set to a score by composer and sound artist Jeff Kolar (who is also interested in things we often miss), it is reminiscent of the work of Pilobolus or MOMIX. The dancers, dressed in highly colorful costumes by Amanda Gladu, work together to mimic insects, cellular reactions, and the pattern of shells.
In a video shown before the piece, Kayser said it was her first work using pointe shoes, and they’re used effectively here to show clean lines, vibrations, and otherworldly movements. Errors would break the magic, so the movements are fairly simple but very effective.
The program opened with the work-in-progress premiere of another very colorful work, Amy Hall Garner’s Petrushka, based on a 1911 Mikhail Fokin ballet. Garner, BalletX’s choreographer-in-residence, has changed the narrative behind what Houston Public Media called “the unhappiest puppet story ever” and, along with artistic collaborator Nancy Meckler, set it in a traveling show.
It feels very balletic for a company that leans more into contemporary dancing. Even Stravinsky’s score sounds very classical. But it’s great to see the dancers’ range. Peter Weil as Petrushka was especially impressive in the artistry, tricks, as well as acting.
There are several other interesting characters (a ballerina, a strong man, a magician) that will surely be explored more when the piece gets its full-length premiere in January with the Philadelphia Chamber Music Society and ensemble132 at the Perelman Theater.
The program wrapped up with a piece that has become one of BalletX’s signature works, The Last Glass, by company cofounder Matthew Neenan. This is another theatrical piece set in a sort of street fair and involves the many moods of all the characters.
Neenan choreographed it in 2010, and it still looks quirky, interesting, and timeless on a new cast, 15 years on. He has since developed into a much sought-after choreographer, and it’s interesting to see how he both developed since this work and set himself up for success with steps created more than a decade ago; set to songs by the indie-rock band Beirut.
The Last Glass will surely pop up again on future programs, and I’m looking forward to Garner’s full-length Petrushka next year. Scales is one I’d especially enjoy revisiting. Even if it doesn’t return, I’ll be watching out for Kayser’s future work.
BalletX summer series runs through Sunday at the Suzanne Roberts Theatre. $85-$90. 215-225-5389 x250 or [email protected]