Movement trumped emotion in BalletX's November program at the Wilma Theater, featuring three world premieres that frequently relied on pace, rather than interpretation to transmit.

With all-star choreographer Matthew Neenan (co-artistic director with Christine Cox) providing consistent works supplemented by guest choreographers of note, BalletX programs have become known for their edgy playfulness, danced by some of the city's ballet veterans. The November program however, hosted a cast of new faces, many of whom have not gone through the traditional rite of passage of Pennsylvania Ballet corps dancing. The new lineup featured the kind of quick, athletic energy that was suited to technical pieces; missing however, was the grace accrued through seasons of performances.

Meredith Rainey, whose own long, sleek lines are as familiar as Neenan's quirky flexed-foot stylings, experimented with androgyny in his ocean-wave inspired "They Break," with floating costumes designed by Martha Chamberlain that purposefully disguised male from female. By eliminating gender, the dancers were able to mirror each other's moves without regard to traditional roles, and some of the best segments in "They Break" occurred in the bold, daring leaps executed. Rainey favored strong, reactive lines which sometimes descended into domino-like chaos, counteracted with facial expressions that were blank to the point of being belligerent.

In many ways, a company’s maturity is measured by its ability to carry off a work of great playfulness.
BalletX dove headfirst into silliness at this weekend’s Spring Series performance, debuting a new piece by Christine Cox, titled “The Striped Cat.”
Loosely based on a storyline from Dr. Seuss’ The Cat in the Hat, Ms. Cox fits a new style of choreography on the spry young company, sending its members cavorting around the stage in pursuit of the fanciful fun found in the children’s book. Read more.

    In many ways, the work of Dr. Seuss  parallels the mission of BalletX; each transforms ordinary, standardized vocabulary into something a bit more exciting. Dr. Seuss  did it with words, as he took reading  lists from the official Dolch vocabulary guide and turned them into zany stories about fantastic, made-up creatures; BalletX does it with movement, using daring choreography rooted in the firmly established lexicon of classical ballet.  
    So it’s logical that the two boundary-pushers would work well in tandem, as explored by co-artistic director Christine Cox during BalletX’s Spring Series production running at the Wilma Theater April 4-11. Affectionately titled “It’s Fun to Have Fun, but You Have to Know How,” from a quote in Dr. Seuss’ famous book The Cat in the Hat, the program features Ms. Cox’s “The Striped Hat,” as well as new choreographer Edwaard Liang’s “Largo” and co-Artistic Director Matthew Neenan’s “Wonder Why.” Read more.