Nadine Lavi's Dance note: "Mid-Pointe Project "

The Mid-Pointe Project, an exciting new choreographic venture aiming to provide a platform for active and retired dancers to present their choreographic voices, made its debut last month at the Merce Cunnigham Studio Theater in New York last month to much acclaim. Choreographer and dancer Ursula Verduzco, and choreographer Benjamin Briones, both costume designers as well who provided the evening’s attire, and Brian Norris, lately of Men on Pointe, a new company that rivals the Trockaderos in technique and style, introduced their works at the start of the evening to a receptive audience.

With nine numbers, all different in nature, the evening provided something to satisfy even a finicky dancegoer’s taste. The evening began with “Lights On,” with choreography by Benjamin Briones. This number featured a couple with nice movement quality, seductive music, and an interesting concept. The number opened with the couple arguing out loud, and then working out their difficulties through the dance, and then ended as it began, providing a kind of subtext of the words we do not say seen in the dance steps behind the public face of discord.

In “Nostalgia,” with choreography by Ursula Verduzco, three women seemed to flow to the music by Cesaria Evora with sensuality and elan. “Vieja Cuiudad de Hierro,” also by Mr. Briones, was a romantic ballet scene with a twist. A plumber who comes to repair the sink, is initially receptive to the alluring moves of the girl in the apartment, but ends up falling for her boyfriend who shows up unexpectedly. The audience laughed at this moment in the number, and this was only one of the many amusing and engaging moments of the entire evening. Of the dancers, Natalia Sheptalova, lately of the Russian National Ballet, was the most accomplished, with a confident, clear technique, though she was not given much to do. One hopes that in the future, Ms. Sheptalova’s talents will be used more fully by this troupe.

In “Westward Symmetry,” with choreography by Brian Norris, Daevid Mendivil presented a strong and clear technique and a welcome command of the stage as the errant cowboy who is accosted by two fancy “women” – two males dancers in dance hall girls costumes, corset and all, who danced on pointe. The men on pointe were surprisingly good and were thoroughly in command of the difficult steps. This number seemed a cut above the rest in many respects and one would hope to see more of this interesting choreographer whose steps eloquently captured both the Wild West element and the farcical nature of the men as fancy women.

In “Zavavy” with choreography by Benjamin Briones, the subtexts of sex and violence were strong undercurrents throughout the ballet. Mr. Briones remarked afterwards that his conceptualization sought to break the barriers of these taboo subjects which are not often seen in the elevated themes relegated to ballet, and in that intention, he succeeded.

“Nothing to Hide” with choreography by Ursula Verduzco, featured the lovely Nicole Correa, formerly of Ballet Memphis and other companies, whose lovely line and expressive artistry adds to everything she dances.

In “Number 9,” Brian Norris once again showed real talent and good casting, in the choice of dancer Jonathan Mendez, who presented a ballet about just how difficult ballet technique is. Comic and insightful, Mr. Norris’ work is to be watched, as his choreography makes his ideas, in this case, a young man’s struggle with perfection in dance, quite clear in a very entertaining way.

In the last number of the evening, “Hidden Souls,” Ms. Verduzco presented a startling work about suppression of Arabic women, and in the remarkable dancer, Lucia Campoy, Ms. Verduzco found a wonderful vessel to interpret this work. With pain, fright, and frustration in her expressive eyes movements, Ms. Campoy was absolutely mesmerizing. She made of the slightest step something fraught with tension and worry, suggesting a whole hidden world of repression among Arab women who have no voice. This ballet, done in soft shoes, should be required viewing for anyone who wonders at the lives of Arabic women who “live” under the Burqua. When the other dancers joined Ms. Campoy, all clad in the Burqua and veil, and danced their tortured movements around the stage, it was very compelling, as was the final moment when they ripped off their veils in an act of freedom. This was Ms. Verduzco’s most expressive and successful work to date in this critic’s view, and she evidently finds much to mine from in difficult themes.

Overall, this was a highly successful evening, both in terms of artistic expression and in the impact of this new venture. Hopefully, we will see much more of the Mid-Pointe Project.

Nadine's past blogs:

Nadine Lavi’s Dance Notes::"Fabrice Herrault: Ballet Master Non Pareil "

Nadine Lavi’s Dance Notes:“Violeta Angelova: Ballerina/Artist,”

Nadine Lavi's Dance Notes: "Paloma Herrera: Aqui y Ahora/Here and Now”

Nadine Lavi's Dance Notes:"The Youth America Grand Prix "

Nadine Lavi’s Dance Notes:“Claude Bessy, Lignes d’Une Vie”

Nadine Lavi's Dance notes: "Dance as Image: Film Night at Steps on Broadway"

Nadine Lavi's Dance Notes: ABT’s “Beauty” with Alina Cojocaru

Nadine Lavi's Dance Notes: "Corella Ballet: US debut"

Nadine Lavi’s Dance Notes:"ABT's 70th Anniversary"

Nadine Lavi's Dance Notes: Nadine Lavi’s Dance Notes:"Avi Scher & Dancers"

Nadine Lavi's Dance Notes: Nadine Lavi’s Dance Notes March 13, 2010