Complexions

by Deni Kasrel

Complexions kicked up a storm last week at the Annenberg Center. This was so on several levels -- the most literal being the dance ensemble’s choreographer, Dwight Rhoden, and his fondness for full-out leg extensions. Also, the evening’s opener, "White -- The Clearing," an excerpt from a full-length ballet-in-progress titled Anthem, had dancers moving all about the stage and performing intricate partnering at high velocity. These duets were impressive in their ingenuity -- with dancers wrapping around their partner’s torsos and slipping between their legs in a multitude of ways -- as well as in their execution, which was incredibly tight. Proficiency is expected with a professional company, but these maneuvers are technically demanding and require a rarely seen precision.

Rhoden's Anthem is an abstract interpretation of the colors of the American flag and where we are as a nation. "White" is partially inspired by the events of Sept. 11; however, the translation is oblique. The movements traverse tableaus that initially suggest mayhem and later imply a quest for spiritual redemption. Some duets have one performer sweeping another across the floor and then lifting him or her up to signify a rescue. The bodies being raised are often folded into intriguing yet awkward and even broken forms. We only saw an excerpt, but this slice of "White" still packs a punch.

The program's second act -- four short works from Complexions' repertoire -- served as a temporary breather. Besides giving the bulk of the company a rest, these works showcased Complexions' top performers, including Sarita Allen, Michael Thomas and Desmond Richardson (who also co-directs the company with Rhoden).

The program closed with "Red," another excerpt from the forthcoming Anthem. Here we see Rhoden's trademark angular movement, in which arms and legs slice and dice through the air with a cool sharp edge. "Red" encompasses an expansive consideration of patriotism and the range of emotions it may instill. Performed to music that is alternately rigid, dissonant and romantic -- including Jimi Hendrix's famed blistering rendition of "The Star-Spangled Banner" -- the choreography is similarly evocative. Brief intermittent appearances by Allen dressed as a tango dancer make for the sly suggestion of passion, while a march-like section performed in unison clearly refers to regimented militarism.

While the imagery is strong, the choreographer's intent is less clear-cut. He presents views of patriotism, but what to make of it -- good or bad -- is up for personal grabs.

Complexions

Nov. 15,

Annenberg Center