The Cedar Lake Contemporary Ballet has been active since 2003 and it was founded by Nancy Laurie, the Wal-Mart heiress whose estimated fortune is $3.9bn, so the ballet group is well financed.
The company’s director is the famous Benoit-Swan Pouffer who has the necessary experience, imagination and skills to create dazzling spectacles. The ballet carried out its first show in London last week and the director had prepared three shows to astonish the public and demonstrate the skills of 16 dancers.
The first work is the Violet Kid by Hofesh Shechter, one of the favorite choreographers of Pouffer. The UK audience has always adored Shechter’s spectacles which show the beautiful and fluid moves of women & men under post-apocalyptic lighting, affecting voiceovers, the strange, yet familiar prison-yard shuffles and the brutalized huddles. Pouffer’s presentation of the Violet Kid was certainly an interesting and captivating show which left the public craving for more.
The second play was Alexander Ekman’s Tuplet, a stylish piece of choreography which can leave mixed feelings in the audience. Its genius isn’t questions, but the self-generated material showing dancers who move to the rhythms of their bodies isn’t for everyone.
The final result is amusing and cool, but this show wasn’t anything special compared to the final piece which the ballet demonstrated. Grace Engine, by Crystal Pite was the final show and it definitely demonstrated something amazing. Presented under the electronic music of Owen Belton, Pite demonstrated the human experience in different scenarios, more specifically the relation ship between men & women which was continuously replayed.
Pite’s choreography shows that beauty can flourish among terror. The silhouettes of men freezing in tortured poses, depicting the tension they feel and the women who seamlessly flow between scarecrow dances and dazzling lyrical duets. The continuous freeze-frames reveal the terrified and screaming faces of the performers.