Industrial Revelation

The opening of BalletX's fourth season (and their second as the resident company at the Wilma Theater) did not disappoint. As always, the dancing is tight and precise, and the collection of three premieres, two world and one America, showcases the taut and technically precise choreography we’ve come to expect from this company. Even though they’re not the new kids anymore, they're still pretty sassy.

The program begins with a world premiere from Zane Booker, local artist and founder of The Smoke, Lilies and Jade Arts Initiative. Giselle's Room, "exploring our attraction to the unattainable," is set to New York Requiem, a musical composition by Meredith Monk featuring a woman’s voice, with operatic posturing leading into more desperate ululations and finally gibberish. The tension of the soundtrack is matched by the tension the dancers exhibit as they are drawn around the stage, one dancer seemingly pulled on a string through water upstage, two dancers bouncing off of one another, trying to yank a third into an embrace. The lighting reflects movement through a day, and during that time alliances are formed and broken, scenes staged and brought down. At one point a tableau is created with all the dancers on the bench downstage, only to have it start to break apart almost immediately, the members flying off to either side. Tara Keating and Anitra Nurnberger make themselves into benches at one point, mimicking the only prop on stage, seemingly becoming props themselves. By the time the sun sets and Keating is left on stage alone in front of the dropped curtain, the strain seems unbearable; that’s when the lights go out, and the day ends.

The first half is rounded out with the American premiere of co-Artistic Director Matthew Neenan's Duet From Cali. A delightful piece, we find it hard to say much about it; if its only function was to ease out some of the stress from the first work it was definitely a success. It might also have been a buffer between the opening and closing works; a breather. It worked: it was fun, easy to watch, and the Mozart was soothing after the previous screeching. But it did, in retrospect, feel somewhat out of place. Still, we're not complaining: the traditional music, traditional movement, and the comedic examination of what exactly a duet is (hint, fella—you shouldn't run off!) made for an enjoyable experience.

We can't call Neenan’s second offering, Steelworks, a wholly enjoyable experience. Riveting, yes, and absolutely brilliant. Enjoyable insofar as it has been a long time since a dance has moved us to the degree this one did, but it was not what you’d call easy on the eyes, however satisfying it was to the soul. The soundtrack, provided by emerging composer Anna Clyne, is layer upon layer of voices, metallic clanks, and breathless undertones, the anxiety increasing with the pitch. The movements are slightly automaton-like, the dancers alternating between being the cogs in the wheels to the wrenches thrown into them. There is a constant question of whether the dancers are workers in a factory or literally the factory itself, a quandary enhanced by repeating sampled audio of people talking about factories and machines. All of this called to mind Russian propaganda films and Metropolis for Phillyist Jim, an obvious association (once he pointed it out, of course). Suffering figures often lined the periphery; absolutely nothing says post-postmodern dread and loathing like incessant head shaking. The most striking image for us—the one that still has us pausing—is the eight dancers crossing downstage, as if balancing on a beam. It is disconcerting to see people who were just en pointe seemingly off balance, only just catching themselves from falling. It makes you wonder what they are balancing over and what, my god, would happen to them if they fell. Keating once again gets the showstopper, causing an audible gasp from the audience—we probably could have used some of the cold water she got doused in. It was simply the best work we've seen this year, and we have all appendages crossed that somehow this gets filmed and we can have it at the ready whenever anyone says they don't see how dance can be an effective emotional medium (and if we may be so bold: please show what it looks like from above! Pretty please.).

BalletX has announced the dates for their spring collection, so clear your calendar now. They make it look incredibly easy, truly effortless, which speaks volumes to quality of their work. Their works don't cease to impress and surprise, and the fact that they are relatively new and yet have the devoted following of a thoroughly established company (a following with whom they are still remarkably connected) stands as testament to both the dancers and the artistic directors. The Wilma is a great venue for them, maintaining a level of intimacy that the Academy of Music and the Merriam can't offer; we look forward to the rest of the year, and to many seasons to come.

Emily Wagner and Meredith Rainey appear in Matthew Neenan's "Steel Works" at the Wilma Theater. Photo by Bill Hebert, courtesy of BalletX.