BalletX is presenting its Summer Series at the Wilma in Philadelphia until July 21. 

The program seen on July 10 featured Suite No. 46, Op.1, choreographed by Amy Hall Garner, Everything InBetween, by Stina Quagebeur, and Macaroni, by Loughlan Prior. All three works are World Premieres created on and for BalletX. All three works were distinctly and totally different in subject matter and expression. 

Before the performance, the three choreographers were on stage in a discussion led by Keelan Whitmore, Rehearsal Director and Community Liaison. Questions posed to the choreographers ranged from the Why to the How, and to the What. All three attempted to explain their work, and the processes used to develop and refine their work. Stina Quagebeur mulled over how it was difficult to let go of her work, once she felt it was complete, because she felt that she might want to tweak this, or rethink that, realizing that once it is done, it is done, and the dancers and the audience now owned it. Loughlan Prior explained that Macaroni didn’t mean a type of pasta, but rather it’s usage in the anthem, “Yankee Doodle Dandy,” where the singer tells of sticking a feather in his cap and calling it “Macaroni,” Macaroni being a name given to those who promoted the fad of the time for extreme foppishness. The Choreographer explained that it was his intention to address this “queer-insulting ditty” and to bring to light this part of queer history. 

After the panel discussion, Christine Cox, Artistic and Executive Director of BalletX came onstage to give credit to the late Joan DeJean who had left a $7.4 million bequest to BalletX. Ms. Cox also wrote an article in the program repeating her gratitude to her late friend’s legacy gift. BalletX had a short film about Joan DeJean, which was truly heartfelt. Every choreographer also spoke about their work in short films preceding their dances. 

Suite No. 46, Op.1 opened the program. The first truly wonderful thing was that the music was performed live by an onstage quartet and continuo playing works by Vivaldi and Bach. Amy Hall Garner focused on the ecstatic and ekphrastic elements of dance, highlighting the skills and talents of this fine ensemble of dancers. 

After a pause, Everything InBetween (sic) presented a moody, unsettling work where the territory between heterosexual lovers proved to be a constant tug of war between those who were lovers, yes, but also antagonists. The principal couple spontaneously veered from tenderness to annoyance, from affection to disaffection, seemingly at the drop of a hat. This bipolar angst was relieved somewhat by the couple attending a party, where the woman and man separated, enjoying the company of their friends. Afterwards, there appeared to be repercussions, jealousies, slights, real or imagined, which caused much physical drama. Intriguingly, their friends were seen in their individual niches acting much the same way, as if the hero and heroine infected the happier couples with doubts and dissatisfactions. The dance ended in what could be called an amicable cease-fire. The piece was ecstatically received by the audience, as was the first ballet. 

Macaroni completed the evening after the interval. It was a work of unmitigated joy. It dispelled all doom and gloom left by the previous work, and brought a delightful rejouissance to delight our senses. The dancers threw themselves wholeheartedly into the camp reverie, always exhibiting the highest discipline and art. The costumes by Emma Kingsbury were a chartreuse fantasia, aided and abetted by neon green feathers. A highlight of the work was the pairing off of flamingos, leaving one solitary and alone, he only to be discovered and brought to life by his lover who bonded together in the most sensuous fashion with the agency of a cunningly worked feather. 

A rousing ovation for the work by the packed house was well deserved. 

Sashay over to the Wilma for three distinct experiences in the space of an evening with BalletX. 

BalletX will have an ambitious season beginning in November 2024 at the Suzanne Roberts Theatre, appearances in Bryn Mawr in December, then back at the Suzanne Roberts in February for a Winter Series, and much more. For information, visit www.balletx.org .