BWW Reviews: BALLETBOYZ at Winspear Opera House, Men Take Center Stage

Upon hearing the term "ballet" one typically envisions fluffy tutus and satin pointe shoes: the very epitome of girlish grace and beauty showcased in lithe bodies adorned in tulle and rhinestones. Ballerinas are given the stage as the protagonists, while oft times the men are utilized simply as support systems to drive the plot and lift the girls. Balletboyz, an all male company from the United Kingdom, is making great strides to break the streak of heternomativity in the dance world by giving men the right to all the "good parts" of ballet. Company founders and Co-Artistic Directors, Michael Nunn and William Trevitt, spearheaded this company with the revolutionary plan to bring men to the forefront of the ballet stage, not simply as backup to the female roles. In doing so, the hope of these collaborators is to bring the art and athleticism of ballet to broader audiences.

The program for February 13th, brought to Dallas by TITAS in association with the AT&T Performing Arts Center, boasted two contemporary pieces in stark contrast to one another. The first installment, The Murmuring, was a heavier collection of primal base beats and powerful statements backed with a score by the music production duo, Raime. Lighting designer Jackie Shemesh smartly set the ominous tone with a single drop light center stage cloaked in fog. Choreographer Alexander Whitley skillfully utilized the stage space, often filling the canvas with varying phrases that would ebb into and out of unison with one another. The concept of "flocking" was prevalent throughout the piece, often pitting one dancer against the many. Use of wrenching or wringing motions lent a sense of intense struggle to the movement. With a cast of varying technical backgrounds, the stanzas cleverly showcased pedestrian and street style movements, but in a wholly innovative way with sequences often initiating from unexpected body parts. Costume designer Fabrice Serafino impressed with minimalist street-wear, producing a relatable palate for the audience. Though the intent of the piece could be arguably political in its foundation, the overall sense of struggle against and within the crowd was both present and timely in what should be viewed as a highly important piece of repertoire.

Mesmerics, the second installment of the evening, vastly juxtaposed the first displaying the versatility of this cast. Where the choreography of Whitley was harsh, weighted, angular, and occasionally daunting, choreographer Christopher Wheeldon created a world of soothing ease. Bathed in calming blue ambient light, lighting designer Natasha Chivers sets the stage for the symphonic mastery of composer Philip Glass. Mesmerics was awash in liquid movement, seamless sequencing, and stunning moments of stillness that were almost deafening in mirror to Glass' orchestration. Wheeldon adeptly imbued his choreography with the smallest nuances of the music, often having individual dancers mimic a particular instrument's melodic line. The costuming by Amanda Barrow and William Trevitt, while more traditional than those of The Murmuring, were simple and neatly complimented the lines of the dancers. Perhaps the most exciting element of this requiem was the understated ease of the technique-with two male bodies the weight sharing, lifting, and general flow of the movement appeared effortless.

Balletboyz will be continuing the U.S. portion of their tour with a stop in Scottsdale and a brief residency in New York. As Artistic Director Trevitt stated in the wonderfully open Q&A after the show, "After a few minutes... whether they're male or female becomes less relevant." These young men are more importantly talented technicians, artists, dancers, people.

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