BalletBoyz

Void

U.S. premiere at New York City Center's Fall for Dance 

The curtain levitates, a large screen appears, and a short film begins. The London streets appear in a hazy and rugged frame. It’s a night shot and several young men are perusing the city with no particular destination or motive. Slow walks take us into their journey and immediately picks up pace with a steady run. They run in a herd as if they are a flock of birds darting into foggy nothingness. The running stops and directly cuts into the succeeding scene of a man undulating his body with a subtle intentionality. The camera angles go in and out of long shots and close ups. The close ups allow for a more intimate invitation into his movement that feels slightly invasive. His organic yet strong form captivates the eye. Although short and ambiguous, the film gives the viewer enough information to create a narrative and an idea of who these men could be or represent.  We become disconnected from the visuals and our focus drifts to the dim lit stage as the screen moves upwards and out of sight. The viewer is then pivoted from two-dimensional footage to three-dimensional human figures, with an image of the city streets projecting as a backdrop. We are taken into a dark world that is like a futuristic vacuum of the unknown. The energy is heavy and thick. A gusto of vitality arises as the dancers move through space with fluid aggression. Every gesture is nuanced and purposeful. They sculpt shapes within and around each other with shrewd punctuation and clarity. Various solos and group phrases, teetering between high energy and tender movement quality, elucidates the stage, metaphorically speaking. Their weight and center of gravity tends to stay low into the earth. The floor work moves seamlessly and effortlessly with acute attention to detail, accented by rippling body gestures. It is safe to assume that these men are in some sort of rebellious street pack. There are moments of physical contact that are liquid in texture and other instances when they are abrasive in impact. Illustrations of loneliness flickers in as a solo erupts and the gang of men watch with intrigue and presence. The individual man extends his hand out to the dancers that are configured in a crescent shaped formation. They physically respond by mimicking the same gesture but never touch hands. Their fingers approach one another but a force stops them from ever making contact. There’s a gestural call for support by the man performing the solo but it’s never fully given. We are being weaved into the psychosis of these relationships. There is a kinship that is erratic and dysfunctional. The music plays a distinct role in creating a meditative, circular, and intrinsic visceral experience. It is borderline neurotic. A scene of ripping chaos and mass calamity transpires with paralleling musical sound. The dancers dart themselves into one another, throwing themselves around with extreme fearlessness and flailing freedom. The rawness, audacity, and primitive nature of the dancers causes one to feel a bit of emotional angst. The choreography is wild and intrepid. These men have the mastery to maneuver their center of gravity through various levels of space, that appears impossible, but executed brilliantly. Inversions that travel into springing jumps that manifest into intricate floor work are performed with tickling virtuosity. This all male ensemble has a keen understanding of both the physical and mental meaning of abandonment. The movement is laborious but the dancers embrace it with a contrast of flow, release, and grace. Choreographer, Jarek Cemerek, created a stunning piece that allowed the dancers and audience to explore the idiosyncrasies and cognitive dissonance of the hyperphysical movement vocabulary.

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