Complexions Wows New York

By Keith Boykin, in theater
Tuesday, January 16 2007, 10:00AM

If there is one performance moment that could define the beauty of the Complexions dance company, it might be the moment when Desmond Richardson appears shirtless on stage in blue jeans during the company's run last week at New York's Joyce Theater.

Before he moves an inch of his taut, lithe body, the audience is already gasping in disbelief. It is not just Desmond's body that moves them. It is the knowledge that they are about to see one of the world's best dancers perform in a way that only he can. At the end of his performance of "Loose Change," Richardson brings choreographer Taye Diggs to the stage. But even Diggs's star power pales in comparison to the excitement of the performance itself.

Moving Beyond The Creators

Richardson, who serves as the company's co-artistic director along with his business partner, choreographer Dwight Rhoden, is almost always the center of attention in a dance performance. Your eyes are drawn to him whenever he's on stage. But the beauty of Complexions is that the company that Richardson and Rhoden started 13 years ago has moved beyond the two of them.

Although some dance critics have complained about the frenetic style of Rhoden's fast-paced choreography, I find that the constant movement keeps the lay audience (like myself) engaged. And it also doesn't hurt to see so many beautiful young women and men moving their bodies gracefully and sensuously on stage.

Sunday night's final performance at the Joyce Theater brought out an eclectic group of dance fans for the three-act performance, followed by a cast party at the nearby Rubin Museum of Art. I had just arrived in town the day before from out of the country, but the experience of participating in the Complexions event reminded me again why I love New York.

Rhoden Debuts Chapters

The other highlight of a night filled with highlights was the performance of choreographer Dwight Rhoden's new piece, "Chapters," a long multi-scene piece set to the music of Marvin Gaye.

After two wonderful acts and two intermissions, I was starting to feel the effects of 11 days on the road, until the third and final act refreshed me again. "Dwight Rhoden’s hip and slinky 'Chapters' has Broadway dance musical written all over it," New York Times dance critic Jennifer Dunning wrote. She's right. That seems to be the plan at least. "Chapters," for lack of a better description, might best be described as "Revelations" meets "Rent." "Revelations" refers to the classic Alvin Ailey piece that chronicles black America from slavery to freedom, and "Rent" of course refers to the Broadway musical story of young people living in New York City.

New York's own Clifford Williams stands out in "Chapters" for his performance portrayal as a troubled and confused young man flirting with both male and female relationships. Williams, a former Julliard student and Dance Theatre of Harlem veteran, joined Complexions in 2004, and his mohawked presence is felt particularly in Rhoden's new work in progress that moves from the Vietnam era to the disco era and beyond. His on-stage relationship with Yusha-Marie Sorzano is magnetic, stealing your attention from almost everything else -- and there is a lot -- that goes on.

"The day after seeing a performance by Complexions," writes Village Voice critic Deborah Jowitt, "I feel as if I need to go on a movement diet—you know, lift my arm, look at it for a while, and put it down." I am not sure about the movement diet Jowitt describes, but I do know that watching Rubinald Pronk and the rest of these "snatched" dancer bodies will certainly make all but the leanest of fans envious. And the show will certainly entertain anyone who wants to see an enjoyable evening of dance.

To see Complexions, check out their promotional video on YouTube. You can also find out more on the Complexions web site or at the Complexions myspace page.

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