Dance review: Ballet showed the mastery of Sewell's novel approach

James Sewell has perfected his unique approach to contemporary ballet, a choreographic technique he calls "multiple coordination." The evidence is "Schoenberg Serenade," the centerpiece of James Sewell Ballet's 15th anniversary concert this weekend. In this fantastic nine-part work, commissioned by the St. Paul Chamber Orchestra, the dancers execute the old "pat your head and rub your stomach at the same time" coordination challenge -- only to an exponential degree.

Here is a polyvalent ballet in which each of the dancers' finely hewn body parts moves at a different meter, or exhibits a singular tone or quality. The most spectacular example is Penelope Freeh's breathtaking solo, based on this motif: As one slender arm, extended horizontally, swirls softly in space, the hand at the end of her other bent arm flicks impatiently. Meanwhile, she stands firmly on one leg, with the other elevated.

From here, she courses through space in all manner of configurations, occasionally -- and miraculously -- lifting her bent-over body up from her points. Throughout this continually inventive piece, the dancers' bent ape-like shapes or full-body squiggles straighten into fine lines. Arms angle and intersect across the body. Detailed hands and feet finish, break or splay a shape.

Classical ballet poses also are disrupted. Arabesques collapse, and Emily Tyra's body hangs limply over Justin Leaf's arm. Toes turn in. Legs are grabbed during virtuosic moves. Caroline Fermin, the troupe's new member, adds fresh grace and a compelling presence to the riveting performance.

Bracketing "Schoenberg Serenade" are excerpts from Marius Petipa's "Raymonda" -- with Tyra serenely performing the "Wedding Variation" almost exclusively on point (Sally Rousse dances on Sunday) -- and the premiere of Sewell's "Kinetic Head."

Three dances in one, "Kinetic Head" is first a partial remake of "Proprio," in which the dancers flick lights in the dark and wear neon-lit costumes.

Second, it's an experiment in juxtaposing video backdrops -- whether live, sweet or surreal (but always distracting) -- with dancing. Third, it features Sewell's solo, in which he lays out a series of complicated coordinations that the whole company expands upon in a robust finale.

Camille LeFevre is a Twin Cities dance critic.