REP TWO

Dance Theatre Seattle delivers a night of dance filled with spontaneity and self-discovery, set in the spacious and airy converted warehouse of Dance Conservatory Seattle Studios. Opened in 2021 by Co-artistic directors Chrissy Montoya and Joshua Grant, the studio reflects the extensive experience of the pair, who are established performers and educators in the PNW: Grant most famously as a soloist at Pacific Northwest Ballet, and Montoya at University of Washington, Spectrum Dance Theatre, and Dance Fremont. Both danced with the lauded Les Ballets Trockadero de Monte Carlo, famous for celebrating men in all roles and en pointe. This openness is reflected in the studio’s ethos, which aims for inclusivity. The studio not only hosts regular dance classes in the South Park neighborhood, but is also home to their company Dance Theatre Seattle. Since 2022 the company has been regularly producing ballet performances. This spring’s offering, rep two, features three ballets choreographed by Grant. Led by the ideas of minimalism and individuality, the performance invites audiences on a journey of reflection on times past and the future yet to come. Before the show, Grant urges the audience to see what they see and feel what they feel while witnessing the works. 

The lights come up and the empty stage is filled with a fury of solo moments one after the other from the seven dancers. Quick fluttery leg kicks pair with precise arm placements make each moment feel fleeting. BRIGHT YOUNG THINGS, restaged from its digital premiere during the covid pandemic as part of PNB’s digital season, in many ways reflects how life felt during that time. The dancers execute their hummingbird wing choreography individually, only overlapping as they run on and off the stage with their arms pushing away the air around them, never connecting with any other dancer. The minimalism and variations in ballet class attire as their costumes, puts the focus on the movement and individual expression in what they wear. The orchestral score composed by William Lin-Yee drives the rapid directional changes and swift jumps the dancers do repeatedly on pointe.  I watch the dancers’ stamina being tested by this dynamically complex and full-bodied choreography, I find my own breath becoming shallow. With direct focus and control, the dancers conjure the angst of a moment in time that will not be forgotten.

Coping Mechanisms also begins with a series of solos. This time, set to a score by Paganini, the solos are more playful and in direct conversation with the music. Grant said this piece was in dialogue with Balanchine’s Black & White ballets of the mid to late 20th century. The paired-back costume of black leotard, tights, and pointe shoes put the focus on the individual artist’s interpretation of the choreography. Off-center, elongated leg sweeps, hip isolations, and grounded transitions are showcased across the solos. Dorie Raynolds’ solo defies the others as she arrives on stage with her pointe shoes in her hand and bangs them on the floor. A cheer comes over the crowd, and Raynolds stretches the length of the stage with staccato, repetitious arm and head gestures. Her solo feels like blatant defiance of the rules of ballet, with shifting in parallel and no turnout, and wearing socks while her hair is in a long ponytail. Before exiting, she chucks the pointe shoes offstage and gives us one statuesque ballet pose before the lights go to black. Everyone in the crowd gives a rousing applause to her boldness and comedic craftsmanship.

The last piece of the evening, lowleveljoy, features all ten company dancers, and is the only piece not performed on pointe. From the blue lighting and costumes, I feel a calming feeling come over me. The fluidity of the dancers’ arms and torsos remind me of a sea anemone reacting to the rhythm of the ocean’s current. As the music by Röyksopp begins to pump a low-fi pulse into the space, the intensity of the moment grows. Two-dimensional gestures morph into swirling turns and long lunges. The ensemble shifts together like a school of fish, gradually peeling off until two dancers remain. Juliana Wright and Sana Tepley slip into a duet that starts hesitantly and eventually grows.  They circle their head and shoulders to bring them closer to one another. They lean on one another as they travel around the stage with long looks and tender touches. The music fades out with Wright and Tepley looking deeply into each other’s eyes before they lunge in for a kiss, and the lights go out. An audible gasp comes from some audience members as we’re left only to wonder what comes next.

rep two gave a night of wonder to the imagination.Grant’s choreographic focus on minimalism, creativity, and artistic expression shone throughout the night and gave audience members much to discuss during the intermissions between each piece. Dance Theatre Seattle has a buzz that many could see themselves being a part of. 

rep two took place April 25-26,2026 at Dance Conservatory Seattle Studios. The program link is here. For more information on the company and dancers, visit the Dance Theatre Seattle Website. Featured photo is Sana Tepley and Juliana Wright in lowleveljoy. Photo by Aki Suzuki.