23 Nov TIO NYC: Dance Happenings!
Two dance companies, one hot, one cool, both terrific. But the Dutch National Ballet ended its short run at New York’s City Center, however Complexions remains in town at the Joyce until November 30.
For us, Complexions felt like high-octane revelry; the Dutch National Ballet (DNB) was, relatively speaking, more subdued, a lush classical happening – but not without its own, more contained brand of revelry. Uplifting, (pun intended), is part of both brands.
Dwight Rhoden, who co-founded Complexions with Desmond Rchardson in 1994. Courtesy, photograher Jae Man Joo.
Complexions, Program A at The Joyce.
Complexions.2025 by Austin Richey.
Program A (our choice) opened with “Imagine Joy,” a full-company piece that was rich in movement, costume, lighting, and musical layering:
“…intricate partnering” and “seemingly impossible lifts and turns,” according to one critic.
We agree, then again “seemingly impossible” seems to be Complexions’ calling card.
“The visual palette (gold/flesh tones), the music referencing Beethoven’s “Ode to Joy”, and the staging give it a bold, celebratory feel.., “ raved Critical Dance.
In contrast “Honesty” made a much reserved statement about the company, a chance to catch our breath and relish Complexions’ technical precision and mastery of space. (The Joyce felt almost too small to contain the physical power of the company, which often defies gravity – and logic.)
“The Thomas” was a series of romantic pas de deux, which showcased a fresh choreographic voice. (More please.)
The Grand Finale was indeed that: grand, a showstopper if there ever was one – big, bold, authentic, sparkling – literally, the ladies wore sequins; the men deconstructed tuxedos) – with a Broadway vibe. The dance featured continuous movement with big, bold gestures. Burned the house down.
In short, for us it was an evening of a bold, exuberant, high-impact contemporary ballet. The program itself was essentially a love letter to the company’s 30+-year history of making waves, celebrating its “signature fusion of technical precision, raw energy, and soulful storytelling” (per the Joyce).
The intimacy of the Joyce meant we were close enough (5 rows from the stage) to see the strain, sweat, and pure pleasure of the dancers in motion. A yummy treat for eyes and ears from a company that unapologetically showcases diversity and awesome athleticism.
Dutch National Ballet, Program B
The Dutch National Ballet (DNB) came to town as a national institution with a big, international roster with principals like Olga Smirnova and Jacopo Tissi anchoring the casts across both programs.
Footnote: We learned about the two stars from our friend Emily Speed who joined us for the evening. Emily, as Telluride might remember, came to town right after Film Fest with her dance company AVID, thrilling the audience at The Palm. We hope Emily and AVID return to town. Click here for more.)
In Program B, Beethoven’s late-classical introspection “Adagio Hammerklavier” unfolded like a long, slow outpouring of breath. Though the technique of the gorgeous dancers was spot on, the ballet felt too slow and deliberate for our taste.
“Thando” and “Wings of Wax” changed the vibe, charging the air in the room.
“5 Tangos” sent us all home on a rhythmic visual and aural high.
In all it was a privilege to experience this refined mixed bill from a major European company.
Complexions v. DNB
Summing up: Complexions Program A was hot, in your face, smart, and edgy, while DNB’s Program B felt cool, architected, airy, and classy. In both cases, however, spectacular evenings of dance.
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