BWW Previews: BalletNext's 4th Season: Expect the Unexpected

BalletNext, led by Artistic Director Michele Wiles, had a closed rehearsal run-through of its new program at Alvin Ailey Studios, on January 31, 2015, replete with live music. The fine musicians are: Adrianne Post, violin (Saturday 1/31 only), Liv Heym, violin (performances at NYLA); Beth Wenstrom, violin; Anneke Schael-Yoder, cello; Elliot Figg, harpsichord. It was an up-close glimpse at the dancers and works choreographed by Canadian Peter Qwanz, Flex dancer Jay Donn (born Jonathan George), and Wiles, herself, an exciting way to experience dance.

The choreographic collaboration between Jay Donn and Wiles breaks barriers, combining the angular shapes of Flex dance and the strong lines and beauty of classical ballet. When Chris Lancaster, electroacoustic cellist, first suggested to Wiles that she observe these Flex dancers, including Jay Donn, rehearsing in a Brooklyn studio, Ms. Wiles chose him and knew there would be creative magic made from an intimate collaboration. As Wiles put it at the time, "This is it...the energy I've been trying to incorporate into ballet." Something Sampled, the ballet which Jay Donn and Ms. Wiles created, to Lancaster's composition, opens with Jay Donn dancing solo in an explosion of movement described as a form of extreme animation. It is full of high jumps in unusual positions, flips and head stands, all done with a constant effort to personally engage audience members. The Flex movement thrives on this direct engagement with audience members and reference "breaking down the fourth wall" in dance performance. BalletNext Dancers, Gracie Huber, Tiffany Mangulabnan, Amy Saunder, and Jessica Tretter entered the story adding balletic vocabulary and wearing wildly colored leggings with updated tutus that light up sequentially. When Wiles joined the troupe on stage, ablaze with a lighted contemporized tutu, the story expanded with ballet themes from Swan Lake and Giselle, interrupted by Flex interpretation. Ms. Wiles' energy fully matched Jay Donn, putting them on a level playing field and drawing out the best of their respective artistic disciplines. This collaboration of story telling and mixed techniques, clearly danced with the highest degree of excellence, was enthralling to watch.

Also on the program was a delightful piece by Mr. Quanz, Outswirl, to music of Arcangelo Corelli, which did just that. Via dancers Huber, Mangulabnan, Saunder, Tretter, Landes Dixon, and Wiles, we could see the swirls and outswirls of movement. Each of the dancers offered unique energies to the different choreographic scenes. They sometimes danced solo or connected with each other and rolled through the choreography as part of a whole. There was never a lull, keeping the interest of all (with children in the audience) throughout. The pas de deuxs, danced by Wiles and Dixon, were especially captivating. Ms. Wiles who opened the program, danced with a freedom and lightness.

Ushuaia, Ms. Wiles solo choreographic debut set to the music of Heinrich Biber, is an ever flowing, evolving piece for four dancers, three women and a man. It was riveting to see the dancers, each with distinctly different personalities, weave in and out of countless interchanges and solo interludes. Ms. Wiles, who did not dance in the Ushuaia, is showing her talent as a choreographer.

As good as it was to enjoy BalletNext in this intimate setting, I look forward to seeing them on a stage, as these works and the company deserve to be seen. They will return to New York Live Arts, February 10-14, 2015, dancing this program.

Photo credt: Ken Brower

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