On Thursday, April 17, an excited audience the Frederick C. Tillis Performance Hall at the Bromery Center for the Arts in preparation for an evening of dance performance. As the conversations ended and the house lights faded, the performance officially began, captivating the audience from the very beginning.
Celebrating their 30th anniversary, Complexions Contemporary Ballet was founded in 1994 in New York City by co-artistic directors Dwight Rhoden and Desmond Richardson, former dancers with the Alvin Ailey Dance Theater. The troupe places a significant focus on removing boundaries in the world of dance, rather than reinforcing them.
Complexions Contemporary Ballet is recognized internationally for their performances and pedagogy. The group has performed at venues including Italy’s Festival of Dance, the Holland Dance Festival and Spain’s Dance Festival of the Canary Islands. Complexions has also across various parts of the world, including South Korea, Germany, New Zealand, Russia and the Baltic Regions. They have also the New York Times Critics’ Choice Award.
The performance began with an excerpt of “Bach 25,” which immediately captured the attention of the audience. Hearing enthusiastic reactions as they performed, they immediately radiated confidence with their powerful stage presence. Continuing this energy through passionate artistry and fast-paced choreography, Complexions also performed excerpts of “Deeply,” along with the works “Gone” and “Elegy.” The piece “Gone” is a trio that puts a large emphasis on partner work, especially through allowing weight to fall on each other. Each one of these pieces of choreography swiftly blended sharp and smooth movements with seamless, beautiful transitions.
Hearing multiple audience members discuss with their friends how each number was “absolutely incredible,” the performance kept the audience engaged from start to finish. Each dancer had their own story to tell with their choreography and were truly captivating.
Following a 15 minute intermission, Complexions performed their piece “Woke,” which has been described as a “physical reaction to the daily news” in the playbill. This piece explored dynamics between cannons, dynamics in choreography and the radiant energy that each individual dancer provided.
This work was performed to a collaboration of songs, including “Killing Spree” by Logic, alongside works by Drake, Kendrick Lamar and other rappers. The group focused on blending contemporary ballet movements with modernized music, and occasionally blending in more jazz-based influences. This combination of choreographic genres aided how they conveyed their story, emphasizing dynamics and their most well-known trait of complexity.
As the final piece drew to a close and the performers stood center stage, the Frederick C. Tillis Performance Hall erupted in applause, echoing the emotional resonance of the evening. The dancers of Complexions Contemporary Ballet had not only showcased their technical expertise, but also offered a performance rooted in vulnerability, strength and artistic integrity.
Through a seamless blend of contemporary ballet, modern influences and genre-defying choreography, the group created a space where movement became dialogue. Works like “Woke” brought social issues to the forefront, transforming the stage into a mirror of contemporary struggles and triumphs. Each piece unfolded like a conversation, with dancers speaking through their bodies, with each jump, extension and moment of stillness contributing to a larger narrative of resilience, vulnerability and identity.
Now in their 30th year, Complexions continues to reimagine what ballet can be. Their performance at UMass Amherst wasn’t just a display of physical artistry, but a reminder of the power of dance to transcend cultural boundaries, confront social realities and ultimately bring people together. The evening left a lasting impression of awe and inspiration for all who attended.
Helen Burke can be reached at [email protected] or via Instagram @helenburke06.
