Founded in 2005, the Philadelphia based BalletX made its debut appearance at the Segerstrom Center for the Arts in Costa Mesa, California on October 16, 2021. Led by Co-founder, Artistic and Executive Director Christine Cox the BalletX dancers are brilliantly trained and each of them are extraordinary performers as well. The program consisted of three diverse works Increasing by Co-founder Matthew Neenan, Napoleon/Napoleon by Barcelona based Cayetano Soto, and Steep Drop, Euphoric by American choreographer Nicolo Fonte with all ten dancers in all three pieces.
In her welcoming speech Ms. Cox stated that each of the three works were choreographed on the dancers performing at the Segerstrom Center. This was evident by how comfortable they appeared with the choreography considering that most companies have not been able to rehearse in-person for over a year due to the pandemic. The BalletX dancers were definitely ready and more than capable.
BalletX – Zachary Kapeluck (facing) in a duet from “Increasing” choreography by Matthew Neenan – Photo by Bill Herbert
The best piece came first, an exquisitely musical work by Matthew Neenan titled Increasing (2014). All the elements united beautifully within this dance; the choreography, the dancers, the lighting, and Franz Schubert’s enchanting music score performed live and onstage by the magnificent The Schubert Quintet. Neenan’s movement was open, spacious, demanding and as stated above, deliciously musical. His program notes stated that he wanted to create a non-narrative dance, and in this he succeeded. There were hints of relationships between couples, but definitely no consistent storyline; just exquisite dancing.
Increasing opened with a strong contemporary style solo performed masterfully by Blake Krapels who was soon joined by the equally talented Francesca Forcella in a duet that gave the viewer an insight into the work’s movement themes. Wonderful, winged arm gestures that gave flight to each dancer accompanied deep second position pliés that kept them grounded. The two easily maneuvered through intricate lifts that appeared in multiple variations throughout the work.
BalletX in “Increasing” choreography by Matthew Neenan – Photo by Bill Herbert
Keenan paired same and opposite sex couples, hinted at physical attractions, but moved on to visualize Schubert’s string quintet in the most expert manner. Every level of Schubert’s musical phrasing was utilized. Each string instrument was translated into movement, all the while creating a work that equaled the composer’s genius. Keenan’s choreographic structure was wonderful in how solos glided into duets, trios, quintets and full group sections for all ten dancers. Even his moments of stillness sang. To close this extraordinary work, Neenan provided Increasing with one of the most breathtaking endings that I have seen in years.
Members of The Schubert Quintet included Yoe Joo Hwang, violin I; Matthew Fang, violin II; Remy Fang, viola; Chang Yue, cello I; and Inwoo Su, cello II. Kudos also go out to Lighting Designer Drew Billiau and Costume Designer Carol Divet.
The Dance Journal called Napoleon/Napoleon (2018) choreographed by Cayetano Soto a “High concept farce …” and although I could see how the work might fit that category, I found this piece tedious. The endless blackouts at the beginning and the highly obvious humor that brought chuckles from the audience, felt forced. In his program notes, Soto spoke to what has been called “The Emperor’s Syndrome,” children being mean to their parents and adults taking on this same characteristic. I was not convinced via the choreography that the threat of dictatorship was ever present as it certainly is around the world today, nor that anyone appeared threatened.
BalletX – Francesca Forcella in “Napoleon/Napoleon” choreography by Cayetano Sotos – Photo by Vikki Sloviter
What worked were the costumes by designed by Stephen Smith who dressed each dancer identically in pseudo-emperor skirted jackets and knee high stockings. Also, one long section which had a “leader” repeating the same phrase over and over to eventually be copied by their followers. This clearly depicted how a dictator will repeat a lie until it becomes a truth to the base. And extremely whimsical were the child sized red tricycles peddled by adults. This one element clearly spoke to the choreographer’s notion of children leading their parents. Napoleon/Napoleon is far from being an unpleasant work, but somehow the satire felt insipid and overall I was left wanting.
The Lighting Designer was Mark Stanley whose work was excellent once the dance moved past the blackouts where it was often impossible to see the dancers.
Things picked up again with the closing work by Nicolo Fonte. Although not as masterful a work as Neenan’s Increasing, Steep Drop, Euphoric (2019) is beautifully made and gave the dancers an opportunity to display their acting abilities. Francesca Forcella is featured in this work that explores “the interior geography” of the human consciousness. A large white strip of mylar hangs upstage right, acting as a door or pathway into one’s mind, dreams or perhaps even one’s soul. We see Forcella’s seeking what she cannot clearly explain, her angst of not knowing and finally her joy of discovery.
BalletX in “Steep Drop, Euphoric”, choreographer by Nicolo Fonte – Photo by Vikki Sloviter
The opening and closing tableaux had a sense of spirituality, a seeking of a higher power, but the choreography in between was more grounded in the anxiety that life choices can bring. The stop, go and pose style of choreography was not to my liking, but the piece works. This is especially true during Forcella’s powerful solo through to the final tableau.
BalletX in “Steep Drop, Euphoric” by choreographer Nicolo Fonte – Photo by Vikki Sloviter
BalletX has an amazing cast of dancers and one can only hope that the Segerstrom Center will bring the company back so that we can see more of their repertoire. Ms. Cox stated that the company has commissioned over 100 works from choreographers around the world. I, for one, look forward to seeing more of them.
The incredible dancers of BalletX were Shawn Cusseaux, Jonah Delgado, Francesca Forcella, Blake Krapels, Skyler Lubin, Alexandra Policaro, Ashley Simpson, Eric Trope, Pete Leo Walker, and Andrea Yorita.
Mark Stanley’s lighting design was far more impressive for Steep Drop, Euphoric. The Set Designer was Nicolo Fonte in collaboration with Mark Stanley.
To visit the BalletX website, click HERE.
To find out what is appearing next at the Segerstrom Center for the Arts, click HERE.
Written by Jeff Slayton for LA Dance Chronicle.
Featured image: BalletX in Increasing choreography by Matthew Neenan – Photo by Bill Herbert
