Last up on the program was Little mortal jump, which included a plethora of musical artists (eight to be exact). Cerrudo has a way of stringing together music from classical to neo-classical to movie soundtracks and making them work by selecting pieces that easily complement each other. He heavies up the musical drama in the last piece, creating a bizarre, turn of the century, circus-like feel played up by the almost period-piece costumes which included boots and bowties.
Whitty and whimsical, Cerrudo plays with the audience for the first time of the evening, and appropriate for a closing piece, I think. One of the dancers jumps into what looks like the orchestra pit just as the lights go out making it look as though he has disappeared into a black hole.
A couple has their bodies Velcro-ed to the walls of large moving cubes; in a no-nonsense way (adding to the comedy), they simply begin to unsnap the front of their unitards and, removing themselves from the wall, they leave behind the carcasses of their costumes like cicadas in the spring.
Another dancer is centered in a spotlight, possibly preparing to do something, when instead he spritely jumps out of the circle of light – gone as quick as he arrived.
Filled with brief moments of trickery (the moving cubes, the orchestra pit jump, the Velcro, at one point a sudden and bright light coming from downstage left), the additions left me confused as to why things were there and what they meant. Perhaps they were meant to mean nothing.
Cerrudo’s choice of movement is strongest here, perhaps easier to achieve with the vehicle of a mild characterization. I found the shapes pushed the envelope of creativity more so than the first two pieces; particularly in the duet between the Velcro-ed couple, Leta Biasucci and Price Suddarth, who both brought substantial charm to the stage. Cerrudo leans into the goofy, sweetness creating a curious, almost bird-like duet.
Morphing into a larger section of group work, usually a moment of cohesive momentum, the choreography feels muted and understated due to the flat nature of the timing. Each step appeared to be given equal value in time rather than quickening some steps and easing out others. As with all the pieces, Cerrudo flows between duet and group work and continues to do so through the end of the final work. He brings back the cubes in a spinning flurry to close out the piece, ending in another question mark.
Cerrudo makes adequate choreographic choices, but it is the undulating, liquidous, infinite limb-work in his partnering sections that quickens the pulse and keeps the eye moving. While not everything made a splash, he is certainly a relevant creator capable of perhaps some larger waves in the near future.