Les Ballets Jazz de Montreal Energized by New Direction

Nearly 30 years after its founding, Les Ballets Jazz de Montreal has seemingly been born anew. Louis Robitaille, who took over as artistic director in 1998, has infused the company, last seen by this reviewer nearly a decade ago, with fresh blood. Sexy choreography, indefatigable dancers and purposeful programming caused a sensation Thursday at Thousand Oaks Civic Arts Plaza.

Talk about a Coney Island of the body, collectively speaking: This troop proved a nonstop cyclone of dizzying, polished moves. Jump-starting the evening of five works was “Premiere Souffle,” Robitaille’s audacious solo choreographed by circus artists Gilles Lacroix and Andre Simard, and Myriam Naisy. Suspended from a rope, the bare-chested Robitaille slowly descended to the floor, holding sculpture-like poses until, hovering only inches above the stage, he began spinning. Once on the floor, the dancer contorted his body into yoga-like postures suggesting a range of emotions from angst to anger.

“Circle Songs,” set to the percussive music of Bobby McFerrin and choreographed by Shawn Hounsell, had a jubilant, tribal feel to it--think “Lion King.” Seven dancers--Lourdes Gracia, Francine Liboiron, Neelanthi Vadivel, Eric Beauchesne, Eric J. Miles, Robert Rubinger and Youri de Wilde--gyrated, spun on their knees and formed circles around a central figure. Leotards made to look like henna tattoos (created by single-name designer Vandal) also contributed to the totemic atmosphere.

Shifting into a darker mood, “Entre-Deux,” choreographed by Dominique Dumais to an original score by Timothy Sullivan, featured four duets chronicling the progress of a single relationship. Ballet moves punctuated the first couple’s maneuverings (Vadivel and Beauchesne), while the second pair (Gracia and Rubinger) personified jazzy skittishness. Cherice Barton and Edgar Zendejas offered sweeping arms in their nod to a postmodern Fred and Ginger. Finally, Liboiron and Yannick Matthon personified trust and longing shrouded in sensuality.

Rubinger’s 50-second break-dance solo “Clin d’oeil,” choreographed by Jason Shipley-Holmes, was the perfect segue to Mia Michaels’ “No Strings Attached.” An unadulterated jazz work set to Albert Sterling Menendez’s bass-driven score, it featured seven dancers, jive talking, groovy hip-swiveling and lots of flashy high kicks.