This was the go-to philosophy in two of the three works performed at the Filene Center: “Fold by Fold” by Norbert De La Cruz III and “Last” by Alejandro Cerrudo. The world premiere of “Fold by Fold,” commissioned by Wolf Trap, was especially welcomed. The work also featured an interesting commissioned score by Michael Gilbertson (like De La Cruz, a former Juilliard student. The Philippines-born De La Cruz is a relative newcomer to choreography; what would he have to offer?
A fair amount, at least initially. “Fold by Fold” got off to a strong start with its eight dancers aligned in crisp, geometric formations, shifting positions in cascading sequences with the precision of the Rockettes. The steampunk costumes by Marion Talan added to the sense of elegance with a hint of menace: stylized frock coats framing pectoral cleavage for the men, hot-pants jumpsuits for the women. Lots of black.
But after the motif of sharp moves in successive arrangements had run its course, the dancing slid into the familiar territory of so many other contemporary works in circulation among the smaller regional ballet companies. The choreography was interchangeable with what I’ve seen of Liang’s, Fonte’s or even Cerrudo’s work. His “Last,” made for this company last year, followed “Fold” to its detriment, because it was so similar. (Only lit a little darker. Dark lighting is another virus spreading fast through contemporary ballet.)
The emphasis in “Fold” and “Last,” as in so many other works, is on big, angular shapes — choreography written with a Sharpie pen — performed with world-weary detachment. The most eye-catching moves are frozen for a few beats, so we’re sure to notice them. The women are vacant-eyed and emotionally empty. The men want to be helpful in their way, but human connections are invariably thin. This seems to be the point, over and over.
De La Cruz and Cerrudo both have great promise. The question is, will they continue to play to expectations — and remain indistinguishable from the field — or can they find their own expression?
They can look to Trey McIntyre, whose style is grounded in a warm, humanizing physical grace and wit. His “Like a Samba” (from 1997), which ended the evening, felt like a classic next to the other two. He let Astrud Gilberto’s dusky vintage vocals fill in the atmosphere; the dancers responded with understated suggestions of Brazilian moves, a squiggle here, a jiggle there. Solid craftsmanship and sharp comic timing: more difficult than you’d think, though McIntyre makes it look easy.