Unleashing Talent with Valleto Dance

The first time I walked into CPR- Center for Performance Research, I was immediately reminded of the opening to Twayla Tharp's The Creative Habit, “I Walk into a White Room.” Despite the color, it has the soul of a black box theater offering a clean simple space for rehearsal and performance, with riser seating on one side, Marley covered sprung floors underfoot, and a simple lighting grid overhead. Saturday gave me my first opportunity to see this venue in full use, when I had the privilege of witnessing Eternal Bonds by Valleto Dance.

A labor of love for choreographer Valeria Y. Gonzalez, this production is described as the final chapter of a trilogy of performances stemming from work she was doing while living and teaching in Austin, TX in 2023. Speaking to the choreographer, she explained this version builds on the prior iterations, which comprise approximately thirty percent of the current choreography, with the rest entirely new, and clocking in at just over 70 minutes. The seed of inspiration came from looking at her relationship with her parents, and asking the question,

 “How can I create this bond with them that is eternal, so that I'll always be connected to them.”

From there she delves into various memories from her youth as a launching point for the work she has developed with her company. There is a lot to unravel in this tapestry of performance expertly woven together by Valeria and her creative team. It would be impossible to say for certain which elements are original versus new, as the disparate components still manage to bear a cohesive tone and style.

Before the audience is invited into the performance space, we are generously provided with earplugs for comfort (though I never used mine), shoe covers for those who choose to sit in the seats lining the performance space, and are warned about the heavy use of strobe effects. Walking into the theater the seats lining each of the three remaining white walls effectively convert the performance space to theater-in-the-round. Throughout the show the staging and use of diagonals honor each of these varied perspectives. We are greeted by the forward facing image of a seemingly empty white dress standing center stage, a sculptural presence that in the simple white pre-show lighting feels more like walking into an art gallery, indicative of the curated collection of vignettes soon to follow.

Micromovements betray the two dancers huddled beneath, already hard at work for the fifteen minutes it takes the audience to settle into their seats. As lights dim to a single white spotlight, violins serve as prelude to an operatic voice which cues the dress to vibrate in mimicry of the vibrato. Our ghostly hostess seems to serenade us, but the effect is a bit too violent for a perfect illusion, more jagged and jolting than the music elicits, until a key moment where she seems to melt, lights shifting to red. One of the dancers slides out from beneath the hem as music blurs into a metallic artifacting sound, which soon shifts once more into an excerpt from the song “Unforgettable,” thus establishing the pattern that would hold true throughout the show, of oscillating between operatic and classical selections, upbeat contemporary songs, and retro love ballads, often bridged by pulsating or droning electronic interludes. It is an eclectic but consistent playlist. 

These amorphous transitions are beautifully accompanied by Betsy Chester’s lighting design, which cascades through a full spectrum of vibrant rich color motifs from deep blues, to haunting yellows, sensual reds, and, my favorite, a rosy green blend that had an iridescent effect. There are very few full stops in the show, and most of the transitions masterfully blur from piece to piece. The music may stop, but the movement and intention continue, until the next catalyst for change takes hold. This show as a whole feels simultaneously like an anthology of selected works, and a singular connected stream of consciousness exhibition of emotive movement. 

The dancers themselves are perfectly matched in style and intensity. Any deviations in skill or timing are slight enough to be forgivable, and only serve to enhance the individuality reflected in the ensemble. They are a collective of singular entities, each commanding their own moments apart from the main. A vast majority of the show allows for diverse interpretation by the performers, while the ensemble sections serve to unify focus in transition from one story or solo to the next. At times they come together in couples or groups, while each is pursuing an unique narrative journey, some in elation while others wallow in heartbreak.  Much of the choreography, in group work and solos, is technically difficult, with an impressive amount of acrobatic arts blended into the mix as seamlessly as the more natural pedestrian movements. These dancers are required to vacillate between both emotive and technical extremes in equal measure. There is something to be said for the notion that one must have a masterful command of technique to be able to relinquish that control to serve the needs of the narrative. Solid technique is apparent, but more impressive is each dancer's ability to imbue the choreography with narrative tension, or release. The choice to withdraw from pure technique at times adds a rawness to the movement, which is far more captivating than the pursuit of perfection. There are sharp contrasts from heavy and dire, to light and playful, often coexisting in the same moment. Sometimes the difficulty in the choreography is belied by the ensembles seemingly effortless fluidity moving though dynamic sequences with gravity defying acrobatics. Other times the sheer force of exertion is heightened to frenzied exhibitions of euphoria or abandon. Dancers  run and slide across the floor in unpredictable ways that culminate in beautiful tableaus of bodies having relinquished control. The risk and sweat is real, and every dancer is 100% committed. Add in the use of breathwork, vocalization, and text and the skillset of these talented dancers extends well past your typical dance conservatory training. 

This latter is one of the few criticisms I can offer. The poetic sequences which choose to use dialogue beyond isolated laughter, screams, or singing, falls mostly into the final quarter of the show. At this point it feels like an afterthought, which is not to say that I don't think there is a place for it in the production. On the contrary, I would have preferred more text, consistently peppered into the mix. As it was, by this point, while the dancers bodies were already nearing physical exhaustion after 40 minutes of near constant engagement, with only occasional respite, their voices seemed less warm when they began to work with text. These performances were still as evocative as other selections, and the delivery was by no means devoid of intention, but I wanted the words to be given the same power as the motions attributed to them. 

Valleto Dance describes Eternal Bonds by saying, “Ten company dancers represent the fragments of a shared consciousness, guiding us through vivid, nostalgic, euphoric, and fleeting moments.”  Speaking with Valeria after the show, I was given greater insight into some of the memories and inspirations that serve as the foundation for the work, but it is apparent that conversations and collaboration with the performers was quintessential to the development of the composition as well. I am hesitant to share these secrets at large, as, while these details unlocked a greater understanding of the work I had just seen, I also understand that without them, the choreography works its own magic, leaving room for interpretation. Traditional audiences accustomed to linear narrative-driven theater, may say it is not for them, but I challenge such audiences to accept the invitation offered by such abstract storytelling styles, providing the viewer a role in the story. This relationship of performer and audience is further blurred frequently throughout with direct interactions that could be either antagonistic, playful or flirtatious, and flipping the roles of observer and observed. With each seat in the theater offering a different perspective, influenced by the viewers own interpretation, of this two day only run, of a piece that has evolved through three iterations over time, I felt witness to an experience far more ephemeral than a traditional live performance. Many of Friday night's audience returned for Saturday's performance, as such multifaceted choreography benefits from a second viewing.

Perhaps Eternal Bonds commits the sin of tackling too many themes at once, but I don't find it to be unfocused. Key motifs of memory,  grief, and collective healing are openly acknowledged in the materials promoting the show, but the work delves into other themes of heartbreak, unbridled joy, femicide, longing, and guilt. The dramatic swings serve to provide the dynamic interest that a typical story driven arc would. Moments of levity lift us out of episodes of frustration or isolation. The jarring jolting sequences perfectly contrast balletic penchés and cleaner lines of movement. These qualities are perfectly reflected in the costume design, which pairs intricately stitched corsets with layers of hosiery and cut off sweats; pairing the ragged with the delicate. A moment in conversation afterward touched on the idea of “grief in Ballet,” which I felt resonated strongly in the work…or perhaps that is influenced by this observer's own interpretation. 

Valleto Dance is celebrating its 10th anniversary season, and to that end they are in the final days of a crowdfunding campaign dedicated to the support of the artistic staff. My conversations with Valeria and CPR event manager Brooke Bell echoed many shared goals and ideals, with a dedication to developing work that serves to benefit the greater dance and performance community. Each season Valleto has hired new dancers, which serves to offer a fresh perspective to the work and new opportunities for up-and-coming dancers. I cannot stress enough the importance of small companies like Valleto, which make quality dance experiences like this one more accessible to audiences… if for a limited time. In the meantime, the  CPR calendar is stocked with a diverse lineup of innovative performances and workshops, worth checking out.