Complexions Contemporary Ballet

Complexions Contemporary Ballet
Name	Complexions Contemporary Ballet
Founded	1994
Founders	Dwight Rhoden; Desmond Richardson
Location	New York City
Artistic director	Dwight Rhoden
Genres	Contemporary ballet; Modern dance; Jazz dance

Complexions Contemporary Ballet is an American dance company founded in 1994 by Dwight Rhoden and Desmond Richardson in New York City. The troupe established a presence in venues such as Lincoln Center and Joyce Theater while engaging with institutions including the New York City Ballet and the American Dance Festival. Its repertoire blends influences from Martha Graham, George Balanchine, Twyla Tharp, Alvin Ailey, and Merce Cunningham, situating the company within dialogues across dance and performing arts institutions.

History

The company originated amid the 1990s postmodern and neo-classical resurgence in New York City alongside contemporaries like Paul Taylor's troupe and Trisha Brown Dance Company, following careers of founders who performed with ensembles such as Alvin Ailey American Dance Theater, Ballet Hispanico, and Paris Opera Ballet. Early seasons included premieres at Jacob's Pillow Dance Festival and appearances at international festivals including Salzburg Festival, Edinburgh Festival Fringe, London Coliseum, and Kirov Ballet-adjacent programs. Financial models involved partnerships with the National Endowment for the Arts, New York State Council on the Arts, and private benefactors similar to patrons of the Joffrey Ballet and Royal Ballet. The company evolved through shifting leadership strategies, maintaining residence periods in venues like Skirball Center and collaborating on co-productions with entities such as the Los Angeles Music Center.

Artistic Vision and Repertoire

Artistic direction under Dwight Rhoden emphasizes cross-genre fusion, integrating aesthetics from classical ballet lineages associated with George Balanchine and Rudolf Nureyev alongside vernacular forms popularized by Bob Fosse and The Nicholas Brothers. Choreographic works reference musical partnerships with composers and performers including Prince, Beyoncé, Herbie Hancock, Dido, and orchestras like the New York Philharmonic and the Los Angeles Philharmonic. Signature pieces incorporate technical demands comparable to repertory from New York City Ballet and narrative acidity reminiscent of Pina Bausch and William Forsythe. Costume and design collaborations have included designers linked to Alexander McQueen, Issey Miyake, and lighting designers who have worked with Peter Brook productions.

Company Dancers and Leadership

The company has featured principal dancers with backgrounds at institutions such as Alvin Ailey American Dance Theater, San Francisco Ballet, Dutch National Ballet, Stuttgart Ballet, and Royal Ballet. Guest artists have included alumni from American Ballet Theatre, New York City Ballet, and international stars formerly of Bolshoi Ballet and Mariinsky Ballet. Administrative leadership and artistic advisors have been drawn from boards involving executives who served at Kennedy Center, Carnegie Hall, and foundations like the Guggenheim Foundation and Ford Foundation. Rehearsal directors and répétiteurs brought experience from companies such as Philadanco and choreographers influenced by Jerome Robbins.

Collaborations and Commissions

Complexions created commissioned works for presenters including Lincoln Center Festival, BAM and the Spoleto Festival USA, and collaborated with music artists linked to labels like Atlantic Records and Sony Classical. Cross-disciplinary commissions engaged filmmakers and visual artists associated with Spike Lee, David LaChapelle, and museum programs at Museum of Modern Art and Tate Modern. The company participated in co-productions with opera houses and orchestras including Metropolitan Opera projects and toured in joint programming with jazz ensembles tied to Blue Note Records and contemporary composers affiliated with Bang on a Can.

Touring, Residencies, and Education Programs

Extensive touring history includes seasons in Europe, Asia, South America, and Australia with performances at the Sydney Opera House, Teatro Colón, Royal Opera House, and cultural exchanges supported by the US State Department. Residencies were hosted by universities and conservatories such as Juilliard School, New York University, Columbia University, California Institute of the Arts, and the Royal Academy of Dance. Education initiatives offered masterclasses, workshops, and outreach in partnership with community arts programs tied to Perelman Performing Arts Center models and apprenticeship schemes reminiscent of programs at Royal Ballet School.

Critical Reception and Awards

Critics from publications like The New York Times, The Guardian, Los Angeles Times, The Washington Post, and Dance Magazine have noted the company's athleticism, theatricality, and genre-defying choreography, often comparing works to those of Alvin Ailey and William Forsythe. Awards and recognitions have paralleled honors given by institutions such as the Bessie Awards, Tony Awards nominees in dance-adjacent categories, fellowships from the MacArthur Foundation-adjacent programs, and grants from the National Endowment for the Arts. Reviews highlighted collaborations with artists connected to Prince and Beyoncé as examples of successful crossover appeal.

Category:Dance companies in New York City Category:Contemporary ballet companies