Dance Series 1 - Contemporary Ballet - Mountain View Center for the Performing Arts

Smuin Contemporary Ballet kicks off its 31st season—its first led by Artistic Director Amy Seiwert—with a thrilling program of premieres and celebrated works. Globally in-demand dancemaker Jennifer Archibald will create a World Premiere in her first project with Smuin. Known for exploring partnering and movement styles across genres, Archibald’s premiere promises a dynamic new work that highlights the spectacular versatility of Smuin artists. Also making his company debut is BalletX co-founder Matthew Neenan—declared “one of the most appealing and singular choreographic voices in ballet today” by NYT—with his character-driven *The Last Glass*, a theatrical work set to the music of indie-rock band Beirut. Rounding out the bill is Amy Seiwert’s *Renaissance*, returning to the Bay Area following its New York premiere at the Joyce Theater. Inspired by one of the largest gender equity protests in history, the piece was hailed by the SF Chronicle as “Dynamic. Inventive. Sinuous. Renaissance has a certain grave and timeless feel to it.”

Smuin Contemporary Ballet kicks off its 31st season—its first led by Artistic Director Amy Seiwert—with a thrilling program of premieres and celebrated works. Globally in-demand dancemaker Jennifer Archibald will create a World Premiere in her first project with Smuin. Known for exploring partnering and movement styles across genres, Archibald’s premiere promises a dynamic new work that highlights the spectacular versatility of Smuin artists. Also making his company debut is BalletX co-founder Matthew Neenan—declared “one of the most appealing and singular choreographic voices in ballet today” by NYT—with his character-driven *The Last Glass*, a theatrical work set to the music of indie-rock band Beirut. Rounding out the bill is Amy Seiwert’s *Renaissance*, returning to the Bay Area following its New York premiere at the Joyce Theater. Inspired by one of the largest gender equity protests in history, the piece was hailed by the SF Chronicle as “Dynamic. Inventive. Sinuous. Renaissance has a certain grave and timeless feel to it.”

Smuin Contemporary Ballet kicks off its 31st season—its first led by Artistic Director Amy Seiwert—with a thrilling program of premieres and celebrated works. Globally in-demand dancemaker Jennifer Archibald will create a World Premiere in her first project with Smuin. Known for exploring partnering and movement styles across genres, Archibald’s premiere promises a dynamic new work that highlights the spectacular versatility of Smuin artists. Also making his company debut is BalletX co-founder Matthew Neenan—declared “one of the most appealing and singular choreographic voices in ballet today” by NYT—with his character-driven *The Last Glass*, a theatrical work set to the music of indie-rock band Beirut. Rounding out the bill is Amy Seiwert’s *Renaissance*, returning to the Bay Area following its New York premiere at the Joyce Theater. Inspired by one of the largest gender equity protests in history, the piece was hailed by the SF Chronicle as “Dynamic. Inventive. Sinuous. Renaissance has a certain grave and timeless feel to it.”

Smuin Contemporary Ballet kicks off its 31st season—its first led by Artistic Director Amy Seiwert—with a thrilling program of premieres and celebrated works. Globally in-demand dancemaker Jennifer Archibald will create a World Premiere in her first project with Smuin. Known for exploring partnering and movement styles across genres, Archibald’s premiere promises a dynamic new work that highlights the spectacular versatility of Smuin artists. Also making his company debut is BalletX co-founder Matthew Neenan—declared “one of the most appealing and singular choreographic voices in ballet today” by NYT—with his character-driven *The Last Glass*, a theatrical work set to the music of indie-rock band Beirut. Rounding out the bill is Amy Seiwert’s *Renaissance*, returning to the Bay Area following its New York premiere at the Joyce Theater. Inspired by one of the largest gender equity protests in history, the piece was hailed by the SF Chronicle as “Dynamic. Inventive. Sinuous. Renaissance has a certain grave and timeless feel to it.”