Complexions Contemporary Ballet was the first of eight companies to perform at the Prince Theatre in downtown Philadelphia, as part of Dance Affiliate’s NextMove series.
Complexions Co-Founder Dwight Rhoden arranged seven of his works for the Philadelphia stage.
The show opened with Ballad Unto… a Philadelphia premiere. With each articulation of the spine and brush of the arabesque, seven couples poured emotions of love and heartbreak into brisk and graceful movements en pointe. Seamless partnering and gestural unison sections made the piece successful.
Next in the program was Gone, a trio performed by Kelly Marsh IV, Greg Blackmon and Timothy Stickney that illustrated a fight for survival. The men captured this motif beautifully, transitioning with ease from soars and darts through the air to complex floor work. The choreography and concept of the piece illuminated the athleticism of these three professionals.
Addison Ector stole the stage in Choke, a male duet exploding with themes of dominance and competition. Ector’s facials remained casual and royal while he whipped out triple attitude turns followed by a series of controlled extensions.
The final piece took an enormous risk on dance and artistry and succeeded with flying colors. Strum was a full company piece set to the music of Metallica. Watching this piece was like tasting, smelling and touching a rock concert through dance. The walking pathways were one of the most powerful aspects. Timothy Stickney stole the spotlight, expressing qualities of insanity, passion and pure stardom.
Master Class with Ashley Mayeux
On Friday, I attended the Complexions master class at Philadanco!, taught by dancer Ashley Mayeux.
I was surprised to find the class was mostly filled with younger dancers, around high school age, with little training in ballet or contemporary techniques. After a standard, fairly easy ballet barre, Ashley taught us part of a Complexions finale dance. The choreography was very basic and more fun than technical. I think this was largely due to the skill level of the class. Although I was somewhat disappointed that the master class was not up to the level or rigor that I expected, I appreciated Ashley’s professionalism and willingness to cater the class to the average ability level of the room. She made the class enjoyable for all of the dancers. If nothing else, I obtained valuable information from watching Ashley in class. I observed her artistic choices and studied how I can apply these choices to my dancing.