José Mateo Ballet Theatre presents Method and Madness

José Mateo’s Escape. © Gary Sloan

There’s definitely “Method and Madness” from José Mateo Ballet Theatre’s final program of the season. From the moment the lights go on in “The Sirens,” to the final step in “Over and Over” the dancers leave it all out on the floor while Mateo takes you on a journey of his career growth.

Mateo created “The Sirens” in 1989 — on of the first ballets after forming the company.  It’s simplistic technique-inspired choreography is straight up good ballet set to Vivaldi’s baroque “Concerto in A Minor.” Kristy Anne Reynolds and fiancé David DuBois lead nine other dancers all dressed in white with clean lines and floor patterns. It’s clear that Reynolds and DuBois have chemistry both on and off stage — a perfect pairing.

Presented in chronological order, watch the Cuban-born choreographer’s work mature and transform into a more emotional, darker narrative in “The Escape” (2004). Dressed in shades of green with a blue-sky background, the ballet features the ladies of the ensemble trapped in a repressive environment. Angie DeWolf embraces her lead role — exploring her hopes and dreams for her destiny in life, love and community. The ballet starts a little slow – the reality of the situation, but as the music builds you get the sense of determination to escape that reality.

Finally, “Over and Over,” is one of Mateo’s more recent works, premiering in 2009. Some of Mateo’s most dynamic and best work comes in the second half of the piece — a trio sequence cannon led by Emma Ward and Magdalena Gyftopoulos; six to nine dancers and later the full cast make excellent use of space. Finally Ellen Scherer’s solo is a quiet moment before a grand finale that leaves the audience with a “wow” factor.

 

José Mateo Ballet Theatre presents “Method and Madness”

Through April 21

The Sanctuary Theatre

400 Harvard St., Harvard Square, Cambridge

$40, 617-354-7467 

www.ballettheatre.org

José Mateo Ballet Theatre presents In the Mind’s Eye

Elisabeth Scherer in José Mateo’s Fearless Symmetries. © Gary Sloan.

José Mateo’s dancers take to the Harvard Square stage this spring in “In the Mind’s Eye” with two fairly recent ballets.

Streams (2008) plays out in four movements with simple costuming to Terry Riley’s “The Cusp of Magic for String Quartet and Pipa” — a mix of northern Indian, Chinese and American Indian music.

Mark Kehlet Schou certainly gets a workout with effortless awe-inspiring height in his jumps. Mateo has created amazing choreography, but at times it seems too challenging for his dancers — both in their faces and their feet.

But, by the end of third movement things really come together — the music, the lights, the choreography and the ease at which the dancers transition in to the fourth section. The final full company part is truly the best.

In the second ballet, Magdalena Gyftopolous and Elisabeth Scherer are, in fact, fearless in Fearless Symmetries.

Created in 2009, the work is a better fit for the current cast. Although the ladies’ costumes are nothing special — shades of browns and blacks slouchy tanks matched with hot pants or short flowy dance skirts, the choreography is thoughtful and precise. It fills the intimate Sanctuary stage, but not overwhelming or overcrowded. The in-your-face feeling catches the audience off guard as it makes a powerful, yet soft and quiet shift in focus to Gyftopolous upstage in a gray leotard and tutu. Simply stunning.

José Mateo Ballet Theatre presents “In the Mind’s Eye”

Through April 21

The Sanctuary Theatre

400 Harvard St., Harvard Square, Cambridge

$40, 617-354-7467 

www.ballettheatre.org