On the last day of the Vail Dance Festival, I decide it’s high time I did a little dancing myself. Ballet X Artistic Director, Christine Cox, graciously welcomes me into the company class at the amphitheater. It’s been…a while since I’ve taken classes regularly (#summerslacking), but Christine’s class is exactly what I need. When Justin Beiber’s “Sorry” comes on for frappés- I know for sure I am in the right place.
Cox emphasizes the importance of dancing as a conversation with your body. The impetus on freedom of movement feels liberating compared to the strict ballet classes I am used to. Not only is taking class with Ballet X refreshing for my body, but it also makes me even more excited for their performance that evening. Closing the Vail Dance Festival is an ambitious task, but this Philadelphia-based contemporary ballet company delivers.
While the opening piece, Jodie Gates‘ Beautiful Once missed the mark (slightly dated costumes and choreography, and a surprisingly sloppy execution), the next ballet absolutely redeemed the evening. Cayetano Soto‘s Schachmatt, was creative and original. Meaning “checkmate” in German, Schachmatt, proves that dance need not be heavy and emotional to be powerful. The dancers are like chess pieces, unified in black and grey jockey attire, moving in unison to fun mid-century music that sounds like it could soundtrack an exotic vacation for James Bond. The movements are provocative in a light hearted way, which is entirely refreshing in the world of drama-focused 21st century choreographers. Soto’s choreography is distinguished without taking itself too seriously, a rare combination that highlights this company so well.
Act II presents Matthew Neenan‘s The Last Glass, an indulgent ballet set to the cinematic music of Beirut. I get such fuzzy feelings when I listen to Beirut; It’s as if I’m standing in the middle of a colorful circus- feathers and sequins and laughing faces whirling by- but at the center, where I stand, it is actually quite lonely. Neenan’s choreography reflects the generous use of horns with carnival-like characters, but also the sorrow of Beirut’s vocals. It’s an impressive layering of tone, and the dancers of Ballet X are exceptional in their ability to illustrate this intricacy.
The closing evening of the Vail Dance Festival is made even more poignant in its marking of Richard Villaverde‘s last performance with Ballet X. The audience received his final bows with the company (he is on to pursue dancing in New York City) with warm, riotous applause. It was a small demonstration of our appreciation for every evening of brilliant art brought to this stage in the past 2 weeks, if such gratitude can even be measured in applause.