Compania Nacional de Danza 2 (CND2)
Ahmanson Theater
May 18
Pleasing a crowd of dance enthusiasts with a single program is a surprisingly difficult task for any company or choreographer. The ballet purists shy away from most things not involving pointe shoes. The modern crowd usually enjoys work based on dance visionaries from the mid-20th century. And the contemporary audience yearns for newness and innovation above all else. But Nacho Duato and the Compania Nacional de Danza 2 have the elusive magic touch that somehow brings any audience to its feet.
Founded in 1999, the Compania Nacional de Danza 2 is based in Madrid and is comprised of only 14 dancers ages 17 to 21. The CND2 is the smaller, younger version of the Compania Nacional de Danza and is meant to be a bridge from dance schools to professional companies. Like AAA baseball to the major leagues, it’s where promising students quickly become seasoned pros.
The real hero of the evening was the company’s director, Nacho Duato, who staged a genuinely noteworthy three-piece performance for the Ahmanson crowd. An internationally renowned artist, Duato’s work is passionate, jam-packed with meaning and emotionally resonant.
The performance opened with “Rassemblement,” a piece inspired by Haitian slaves and set to music by Toto Bissainthe. The choreography crescendos with the exceptional and intense score to become a meditation on human rights and freedom.
Perhaps Duato decided to resurrect the piece he originally choreographed in 1990 in reaction to human rights violations committed in recent years; maybe it’s his response to Darfur. Regardless of his motivation, “Rassemblement” is a stunning and lyrical declaration on an injustice close to Duato’s conscience.
The evening’s second work, “Remansos,” is a contemporary reinvention of the waltz. Originally created for the American Ballet Theater in 1997, “Remansos” is danced to “Valses Poeticos” by Enrique Granados. The piece was originally a waltz for three men but was later amended to include three female partners. Certainly the evening’s most humorous piece, the choreography makes brilliant use of a single red rose and a large white square.
The final piece, “Gnawa,” is Duato’s reflection on his Mediterranean roots and the Gnawa people of Morocco. Like the previous works, “Gnawa” demonstrates Duato’s ability to seamlessly combine narrative, social and cultural awareness and physically challenging choreography.
Duato’s pieces free the dancer from the constraints of classical ballet. His choreography is not driven by the unmitigated athleticism popular with many companies or the antiquated, limited canon of classical works. Instead, his pieces have a purpose and social conscience. The work is about people, history and conflict as opposed to fairies and princesses.
All three pieces featured magnificent lighting that heightened the impact of Duato’s brilliant choreography. In “Remansos,” dancers’ bodies are highlighted against the darkened square backdrop to focus attention to their geometric lines and shapes.
The program was also a testament to Duato’s uncanny ability to choreograph around unusual and dynamic music. With a range from classical European sonatas to African tribal rhythms, Duato’s choreography makes expeditious use of diverse scores that were not composed for dance.
Though Duato’s body of work has made him one of the most in-demand choreographers, his young dancers also deserve another round of applause. Their mastery of classical technique coupled with a modern sensibility make them a versatile troupe. It should also be noted that, given their small numbers, most of them appeared in all three works, giving them an exhausting challenge that they met with unquestionable success.