Dance Review: Texture Contemporary Ballet In ‘Perpetual Motion’
Texture Contemporary Ballet is just two years young, and the company is already taking huge balletic steps. They have impressed the local dance scene, but have been noticed nationally as well. The Jacob’s Pillow Inside/Out Festival in Massachusetts will host the company as one of only a few groups from Pittsburgh.
In fact, hot off their latest performance at the New Hazlett Theater, the group is set to hit the world renowned festival this Friday.
“Perpetual Motion” ran for four consecutive shows over the weekend and featured four world premieres. The choreography was mostly split between Alan Obuzor (Artistic Director), Kelsey Bartman (Associate Artistic Director) and Gabriel Gaffney Smith (Dancer and Composer for the group).
In the first piece, “Mulberry Way,” more than ten dancers took the stage. In Part 1, the large group showed off their classical and contemporary skills, blurring the lines between genres.
Using a more melancholy sound by the rock band, Elbow, the following two sections slowed down, and had a more emotional component. In a lovely trio (Part 2), Amanda Summers moved through two doors and between two partners with beautiful technique and a relatable lack of clarity.
Part 3 featured a quartet of difficult partnering that was both inventive and emotive. To close the piece, the entire group entered for a playful section that ended on a deeply satisfying note.
“Wash” was the second dance on the program, a duet between Bartman and Smith and music by Bon Iver. The two moved smoothly in and out of the floor, alternating between quick and sharp to slow and sweeping dynamics. Their relationship had believable tension.
The third piece, “Broken Mirror,” was the highlight of the evening. With solid choreography reminiscent of the late great Merce Cunningham, the large cast used walking patterns to transition in and out of movement phrases. The dance had a slow build that crescendoed near the end and eventually subsided into the subtle partnering and solo movements of the beginning. In its simplicity, the audience was lulled into a mesmerized state.
The program ended on a high note with live music by Meeting of Important People. Although the piece, “MOIP,” went on a bit too long, the dancers’ energy was infectious. Some parts had humor that required acting and more jazzy technique. Some parts were downright contemporary, practically non-balletic, and proved the span of each performer’s experience.
Mostly, though, “MOIP” was a celebration of movement that ended with an elated fall to the floor and quick blackout. The dance was a testament to the energy of Texture and their staying power among the city’s finest dance companies.
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