The soft moment briefly passed behind, as it was followed by a pas by William Forsythe including high legs, angular lines, and atonal music composed by Gavin Bryars.
Although the tall dancers Jillian Davis and Joe González dominated the stage with their intense presences and infinite lines, it felt as if they were struggling through passes of the sharp choreography. I’m not sure if Forsythe was the best repertory choice for the dancers at Complexions as I feel their talented dancers could have shone if cast in a different starring role.
Finally, the program concluded with the world premiere of Endgame/Love One choreographed by Rhoden and Richardson.
Over the past year, I’ve noticed a rising trend of companies taking their own spin on creating a full-length contemporary ballet to pop 21st-century music. Some of the productions I’ve seen with this theme have been a thrilling success and others have missed the mark. As I continue to witness the pop-ballet concept on the rise, the recipe for its success is usually for the chaos to have an order amongst it: a theme, a mood, a statement.
For me, Complexion’s rendition of this theme left me confused and disappointed. The music tracks included songs by Panic! At the Disco, Drake, Kendrick Lamar, Post Malone, Peter Gregson, Måneskin – and even Bach – and the result was too cluttered.
Any sense of a returning theme was lost in the head-to-toe glitter disco-themed costumes. The music tracks varied too greatly in mood from each other. And the choreography didn’t help the rough transitions flow. However, the two dancers from Serenity – Dilley and Di Primo – continued to stand out from the company with their calm attitude amid the intense choreography.