Uncontainable
With the whip and the whirlwind of spring, I almost missed Jose Mateo Ballet Theatre’s season finale Uncontainable. Thank goodness for the company’s wonderful communications director for keeping me in the loop – I would be remiss to have missed this program. Out of the Dark, the most recent installment of the three piece series presented this season, was a beautiful work that engendered my adoration for Jose Mateo as an artist and visionary. Uncontainable, however, corroborated a “choreographical crush” on my part. Much like Out of the Dark, the Uncontainable program included one revived work and one premier. Through a blank stage and what appeared to be plain cotton-jersey costumes, the only spectacle of the ballet, was the dance.
Set to John Adams’ Fearful Symmetries, Fearless Symmetries, which premiered in 2008, was a brilliant flow of velocity and sound. The culmination of music and movement brought to life the formative impact of city living. Jeanne-Marie Nagel played the young girl drawn to urban life and discovers the transformative nature of the fast paced world. Nagel danced exquisitely. Captivating to watch, she brought inquisitive naiveté to her character. Her grace conveyed the true joy of her work and Nagel lit up the stage. I am thrilled to say that the corps de ballet was exquisite and invigorating. They were synchronized and energetic. Like a flock of birds, the corps expanded, contracted and changed direction as one. Even their spotting was almost entirely in sync. Nothing makes or breaks a ballet like a strong corps.
And then came the premier of the program. More of a character study, Circles, set to Alfred Schnitke’s Concerto for Piano and Strings, was evocative and dynamic. This exploration of “unrestrained psycho-emotional stress of personal interdependency” was particularly apropos considering my companion for the evening – an expressive therapist. The telling of a woman on the brink of insanity explores her desire to escape, though she is unable to vanquish the passions of her toxic relationship(s). The piece displayed the dissonance of dependency. Acting as much as dancing, Sybil Geddes manifested the sentiment and spirit of the story. With lines, posture and expression, Geddes thrust the ill ease of her character upon the audience. August Lincoln Pozgay was a presence of ominous tension. Strong and serious, Pozgay left no doubt of his character’s volatile nature. Geddes and Pozgay’s interactions were visibly visceral. I found this piece to be quit refreshing, despite it’s heavy tone. The combinations were unpredictable and overwhelming. I could never predict what I might see in a ballet, but I am rarely caught off guard. This piece presented movement that surprised me more than once, yet always seemed to be the appropriate choice.
Most outstanding in this performance was Kehlet Schou – spellbinding in both pieces. Schou filled each movement with emotion. His energy radiated from his core and extended up to the arches of the sanctuary theatre. He lifted each of his partners with ease, as though they were made of air. On the topic of air, when Schou departed the stage in a leap, he hung in the air as though his dissension back to earth was his choice to make. In particular Schou turned out coupé jeté en tournant and saut de basque with astounding precision and force. Combining grace and masculinity, Schou was impressive and thorough in his technical excellence.
I’m grateful to have had the pleasure of seeing this program. The Jose Mateo Ballet Theatre closed out their season with a true work of fine art. Mateo continues to challenge the conformities of classic ballet. His transformative choices in music and combinations take this time-honored tradition to a modern place without sacrificing technique or beauty. I congratulate the Jose Mateo Ballet Theatre on a successful close to their 24th season, and look forward to what great things may come with their 25th.
