Cedar Lake Ballet: Winter Program 2008

In the January 2008 issue of Dance Magazine, I nominated Cedar Lake Contemporary Ballet as one of 25 to Watch. Attending last week’s performance of their winter season, I feel not only justified, but also overjoyed that I went with my gut to advocate for them amidst long-standing criticism. Another two hours of powerful, inspired dancing by an all-star cast made the night as memorable, even if not quite as innovative, as Ohad Naharin’s Decadance.

The evening started with the intensely dramatic and dark “Symptoms of Development.” With anenomie-like, swooshing and swerving arms juxtaposed with stomps and battements, the entire piece was unavoidably harsh. Choreographer Jacopo Godani noted in the program that the work “explores my belief that as a society we have gone astray in our humanistic progress. We are losing the abilities to connect with each other.” With computer-based graphics showing the evolution of man, and dancers speaking monotonically into microphones, the apocalyptic warning was completely effective. Only at the end, with the stunning Ebony Williams walking toward a darkening scrim and Herculean Nickemil Concepcion injuring himself with a blunted object, did the piece seem a bit indulgent in its doomsday theory. The composition, moving between leg flinging, body-roll solos and crisp group sections, was otherwise enthralling and moving. And, the dancers’ ability to shift between modern fluidity and hip-hop pop and lock fit perfectly with the choreographer’s intention. Heather Hamilton’s oddly intriguing, masculine yet sexy energy makes her particularly right for the dance.

The second piece, Crystal Pite’s “Ten Duets on a Theme of Rescue” was the obvious and deserving audience favorite; the palpable, collective held breath signified that not one of us wanted the piece to end. We’d rather sit wrapped in the warm and lovely blanket of the piece which reflected the common human power to help others. Surrounded by a semi-circle of lights that the dancers moved occasionally, duets, both male/female and same sex, exemplified how as humans, we lean (literally) on each other even after we have just fought with clawed nails. Heads tucked into neck crevices and slicing arms that were then wrapped around a partner highlighted the strange human condition: Love and hate, need and independence are different sides of the same coin. In one section, Jessica Coleman Scott lunges forward, arm stretched out behind her back to link to Jon Bond, even though she faces away. He runs, arms slicing, face fervent, toward her in large leaps. But the moment he attaches to her hand, he convulses, flying back. How often have we all felt that we are trying desperately to catch up and connect, but the moment we do, we disengage?

Finally, as the audience leans forward, he's able to hold hands with Jessica, controlling his convulsions enough to keep his hand linked. As he quiets and slumps to the floor, she leads him; he has finally surrendered himself to aid. Often, it is harder to force ourselves to get help, to reach out, than it is to find someone willing to help us. The visual manifestation of this emotion was so pristine, a task difficult in dance—to embody a feeling without sentimentalizing it.

Switching gears completely, Stign Celis’ “Rite of Spring” was a modern, sterile take on Stravinsky’s cacophonous score. In it, androgynous, mannequin-like creatures scurry, chase and vibrate as if they had just awakened into human beings through a healthy volt of electricity. Beginning and ending with the sinewy Acacia Schachte crouched in a feline position, trembling with painful growth, the work captures that odd and terrifying beauty of development. Less enjoyable than the others, the piece was still satisfying in intrigue including kimono-like, gold-embellished wraps, smoky eye-shadow and fearless leaps. However, the movable green pieces used as runways, obstacles and benches were more of a distraction than addition.

Regardless of work, it's undeniable that the company’s true strength lies in the unbelievable talent of each and every dancer. In many companies, there is a clear demarcation between stars, supporting cast and characters; in Cedar Lake each and every dancer (without fail) could be called a true star. While his repertoire taste may be questioned at times, artistic director Benoit-Swan Pouffer has proven himself a true arbiter of talent; his casting and cast are impeccable in training, sensitivity, technique and style. Jessica Coleman Scott was this season’s stunner, malleable to every role’s specificity without losing her dynamic technique, gorgeous lines and emotional force.

25 to Watch in 07. 25 to reckon with in 08.