What blew me away was the artistry in every aspect of the production, and it all started with the brilliant theme. In his notes, Artistic Director Jacob Montoya comments, “So often we are unaware of the natural world surrounding us. Tonight we will strive to create an environment where you can reflect on and breathe in that natural world…. My hope for you is that you allow your imagination to take you in your own direction as you enjoy the interplay between the human and the natural.” Indeed that was my experience of this production: I found myself constantly searching for and imagining meaning in what was being presented.

If you will look at the program (click here to open it in a new window), you will see that individual dances are appropriately titled, “The Seeds,” “The Ground,” “The Flowers,” “The Roots,” etc. With all the thought that went into each dance, my one suggestion is that it would have helped the audience’s imagination to be reminded of the title of what was being performed — perhaps in a brief projection on the screen behind the dancers. The theater remained in total darkness throughout, so it was impossible to consult the program to see the name of the dance.

The show began in total darkness, and as the curtain rose on “The Light,” the whole company was lying on the stage. Then individuals began sitting up as if seedlings, then legs rose suggesting the beginnings of growth. In this number and throughout the show, I was impressed by the excellent coordination of ensemble moves — in this case involving all 58 dancers. More than that, though, I was struck with the beauty of individual movement. These young people had obviously made enormous commitments to their art, and it showed in fluidity and confidence and grace as they danced. If there had been clumsiness or awkwardness or mindless “going through the motions” it would have stood out. Instead, every move was conscious and controlled; the dancers were well rehearsed and disciplined. Perhaps even more importantly, they conveyed their love of dance and joy of self-expression.

Throughout the show there was great variety in every detail. There were serene numbers that were beautiful and thought-provoking with music to match, and there were numbers where the music had a driving beat and which were a celebration of energy, but still with artistry in movement and formation. The pace of the production was always changing, and that accounts for a lot of its interest.

To me, this show felt like an explosion of creativity. Let’s start with how the dancers moved. I’m new, so I’m still getting used to the ideas of dancing while lying on the floor or on one’s knees. But there were so many other unusual ideas: older dancers carrying younger ones, dancers dragging each other, jazz dancers and tap dancers in the same number, tap dancers dancing on boxes (sometimes while lying on their backs), and entrances and exits from the stage, each of which seemed different and full of interest and even excitement. There was one fascinating choreographic and staging idea after another.

I found one number, “The Constant,” especially interesting in that it involved a 10-foot-high box with sides that were decorative, but with enough openings that dancers could climb through and create formations that were held for a few seconds. It really was evocative of a growing plant. Really, the whole show was visually arresting: costumes were for the most part colorful and interesting, lighting changed constantly and in creative ways to emphasize changing moods. But the creative essence of this show was the dancing, individual and ensemble, and the choreography, all of which reinforced the theme of the production. It eventually occurred to me that many of the dancers’ moves were organic, as if responding to light or water, growing, even dying.

Each number felt fresh and innovative to me, but the final number of Act 1 was a complete departure from everything that had come before. It was to feature live music, and a group of dancers made pushing the piano onstage a dance in itself. The luscious music by Arvo Pärt was provided by a pianist and violinist (see the program), but before they began, eight 3-foot-wide cloth panels dropped from above, giving additional depth to the stage and a prop to be incorporated into the choreography. The 17 members of the “Elite Company” then gave slow-motion solo performances, sometimes touching the piano and getting very close to the instrumentalists. Then there was an ensemble section, then more independent dancing. At this point it struck me how much of the show was built on one brilliant individual performance after another.

I smile as I recall the first number after intermission, “The Day.” The fun of this high-energy, fast-moving piece was evident from the exuberance of each performer; their smiles just lit up the stage. And I’m sure that we in the audience had almost as much fun watching as they did dancing.

I wish I could comment on everything I saw, but it is impossible: it was a 2-hour-long visual feast, an extravaganza, a beautiful picture in motion. In his program notes, Artistic Director Jacob Montoya mentions that this was his first full-length production. Surely it’s rare for artists to start with a masterpiece, but that’s what this was to me. From the image on the cover of the program, to the theme and plan for the show, to the creativity in every element of the production: choreography, costumes, props, lighting, music — “Human Nature” was an integrated experience of pure artistry. And I’m not exaggerating when I say that those two hours enriched my life.