rmat with all the companies starting with a two act program and then following it up with several shorter works in the first half, the second half consisted of a single, more extended and substantial piece of work.
The first act was by a Philadelphia based company called Ballet X. The first half consisted of works by Annabelle Lopez Ochoa and Alex Ketley, the closing work of the first act was by the main director Mathew Neenan titled ‘The Glass’. The piece was greatly inspired by and from the music which consisted of varied songs by the independent rock band Beirut. The ballet performances were richly innovative and connect with the viewer on multiple levels. The Ballet X performers show remarkable co-ordination and excellent expressiveness. The scenarios shift through juxtaposed scenarios of solitude and romance and the music keeps pace admirably with the changing vistas, going from mournful to playful, evoking nostalgia or inserting Eastern European traditional music. The work is highly and delightfully unpredictable and is emotionally open and very honest. There is a rush of momentum and vibrancy and Neenan utilizes the ballet troupe excellently to articulate an intricate and complicated ballet vocabulary infused with energy and vibrancy.
The second performance was by Seattle based Whim W’him by artistic director Olivier Wevers. The ballet troupe performed two short works titled ‘Monster’ and ‘Flower Festival’. Both the works have evidence of a strong distinctive voice. ‘Monster’ consists of a series of three duets which are based on a poem by R.A Scion which Wevers creates with a very focused and concentrated point of view and then structures it into a well shaped dance routine. The dancers move with measured grace and a polite, restrained tenderness. The dancers Tory Peil and Kyle Johnson dance with a clinging desperation that embodies the idea of dependency the director is trying to embody in the play, Melody Mennite and Lucien Postlewaite