"Rhoden described the first work of the program, "This Time, With Feeling," as a neoclassical piece with "an edge." This work, choreographed in 2025, was set to original music of comparable neoclassical leanings by David Rozenblatt, and it delighted from the onset. The large cast wore svelte royal purple dance attire, designed by the company's resident costume designer, Christine Darch. "So flexible," I heard an audience member mumble, as one dancer extended her leg to the sky."
"The dancers moved about a stark, hazy stage accented with heavy beams of light pouring from above, the work of the company's resident lighting designer, Michael Korsch. Their choreography often seemed to unfold in bifurcated unison, with two groups of dancers on either side of the stage and one sprite-like dancer, Manuel Vaccaro, who made sweeping passes between them. Sometimes he would stop to solo or dance in brief unison with others, demonstrating remarkable precision and gusto."
"I wondered if this dance contained inside jokes, perhaps the "edge" Rhoden had referred to. I noticed a dash of humor within this choreography, little surprises such as undulating spines, sexy slow walking, and limbs that thread together bizarrely. The dancers wearing pointe shoes would strike a wide stance on their toes, allowing their partners to drag them in this strange position - a signature move reoccurring"
Complexions Contemporary Ballet opened a three-night run at Portland's Keller Auditorium on October 2 before a full house. Dwight Rhoden introduced the company and framed the evening's works with brief contextual remarks. The opening piece, "This Time, With Feeling," is a 2025 neoclassical work set to original music by David Rozenblatt and performed by a large cast in royal purple costumes by Christine Darch. Michael Korsch's stark, hazy lighting created heavy beams from above. Choreography often split the cast into bifurcated unison while Manuel Vaccaro moved sprite-like between groups. The work balanced precision, humor, surprising physical gestures, and a recurring pointe-driven partnering motif.
Read at Oregon ArtsWatch * Arts & Culture News
Unable to calculate read time
Collection
[
|
...
]