The first section contains a more distinct mixture of ballet and broken lines; the dancers hover in suspended attitude turns only to invert their legs, create sharp corners of their elbows, and flex their feet. The multi-faceted music, by Jason Moran with additional sounds by Bernie Krause, echoed the same with abrupt piano notes and the unsatisfying interlude of tech.
The music changes into a hurried melody and by this time, the dance is sharp, robust, less clearly ballet mixed with something else, however still echoing bits of the opening.
Bursting from the wings are Jacob Clerico and Michael de la Nuez. Each more magniloquent with every step, Clerico is risky and uninhibited while De La Nuez (who managed to get thunderous applause from the audience) is zealous and confident. I love to see the corps de ballet shine.
Accompanying them in this section was Alexandra Basmagy, Breanne Granlund, Courtney Lavine, and Chloe Misseldine. The quartet displayed King’s geometric moves in a magnetic fashion, drawing us in. Misseldine, in particular, is quick and commanding.
Capping off the piece is a culminating pas de deux between Skylar Brandt and Calvin Royal III. Well-paired, the couple mirror each other equally in both sinewy and athletic quality. Royal shows off elegant lines while Brandt excels in the smooth and sharp, making even the quieter moments exciting.
Through deep leans on each other, soft pulling and pushing, and a trusting gaze between partners, the pas seems to want to communicate hope – although nothing is definitive in this ballet. Pleasantly nebulous in both message and form, the open ending is stunningly simple.