The male trio, “Crying Men”, contrasts three states of energy control, i.e., human energy that can be self controlled. A recumbent figure exhibits a low level of activity that is fairly uncontrolled. Images suggested by this body’s tentative motions are those of an infant lying in its crib but they may also belong to someone tossing on his deathbed. Hovering over the prone body has been a second man. His tantrums, his outbursts come next, volleys of almost uncontrolled energy. A third male figure has been standing by itself at the back of the stage. This is someone alert yet very composed, a person much in control. Ieremia’s choreography explores the three levels of activity sequentially and leaves it at that. According to a program note, these terse sequences are from a dance that has yet to be developed fully. I found the glimpses we were given more than satisfactory. This dance is haunting.
In “Mother Mother”, the concluding work on the program’s first half, and in “As Night Falls”, which took up the bill’s second half, Ieremia tries to deal with women in motion. Apart from the lighter weight of females girding, flailing, jumping, running, one or another female was prone to being tossed into the air. The choreographer doesn’t really delve into issues of male/female partnering, either in his tribute to a mother figure or in the “Night” piece, a gloomy and sometimes melodramatic reverie about hope despite disaster. Much of the latter was to Vivaldi music.
With a company of his own, Ieremia has plenty of opportunity to experiment. Will he begin to choreograph significantly for women and, for men, continue to favor the South Pacific islander type of anatomy? Will his fusions of aboriginal and contemporary positions and motions develop into a true movement language? Will he explore further the interactions of sounds the dancers themselves can make with the imposition of traditional music? Traits the seemingly still young Ieremia has already shown have roused my curiosity.