Catch Tuplet features three non-narrative works exploring the themes of weightlessness and rebound of an object thrown and caught, the personification of rhythm, and the transitional, surreal state between wakefulness and sleep. These three works by choreographers Liam Scarlett, Alexander Ekman, and Annabelle Lopez Ochoa present distinct movement vocabularies. In turn, their creative processes offer an intriguing take on the balance between movement and sound.

With a prodigious rise to fame, Scarlett was appointed one of the youngest Artists in Residence at the Royal Ballet, seemingly materializing on the choreographic scene fully realized. Priding himself on being an intensely musical choreographer, he sought to “translate music to real life” and would habitually return to music for inspiration. Scarlett taught himself to read an orchestral score to better communicate with conductors. Without dialogue, he found the score to be the script of his work. Describing his process, he stated, “Overall, I think we need to come back to a simple, musical, and nuanced place, with a humbling sense of everything being so delicate and still powerful, but not thrust in your face.”

Catch, originally choreographed in 2019 and performed for the first time since its Atlanta Ballet debut that same year, adopted this stripped-down approach, allowing the conceptual framework, choreography, and music to come to the forefront. It was one of Scarlett’s final works before his death in 2021. Though his career was tragically cut short, he left a choreographic legacy defined by his symbiotic relationship with music and relentless ambitions to be one of the greats. He stated, early in his career, “I’m trying to be the youngest choreographer to do everything before it runs out.”

Rhythm, though often associated solely with music, is present in everything from the fall of footsteps on pavement to the flow of conversation and even comedic timing. Ekman takes this concept further in Tuplet, where he explores rhythm as both a musical and physical phenomenon. In musical terminology, a tuplet refers to the irregular division of notes, creating unexpected or surprising rhythms. This principle drives Ekman’s exploration in his work of the same name.

The “surprise” of tuplets mirrors Ekman’s choreographic aim: to entertain and create work which the majority can relate to and connect with. For Ekman, this is often achieved through the recurring themes of joy, play, comedy, and the unforeseen. “When we get surprised for a moment, you wake people up somehow,” he explains. Though originally premiered in 2012, Tuplet’s choreography varies between productions, shaped by the instincts of the dancers. Never performed the same way twice between companies or casts, this process helps maintain the freshness of the piece and allows dancers to include personalized artistic contributions, fostering a sense of ownership over their performances.

Ekman’s decade-long collaboration with composer Mikael Karlsson has been central to shaping his choreographic works. What began as a casual artistic connection evolved into a creative partnership built on mutual trust and an intuitive understanding of each other’s processes. Over the years, they have developed a shared language that allows them to exchange ideas freely, refining their approach to integrating movement and sound. In Tuplet, this synergy is particularly evident. This soundscape seamlessly blends with Karlsson’s original electronic music, shifting between live, body-generated sounds and recorded elements. The result is a striking interplay of rhythm, movement, and musicality.

Ekman’s ability to internalize a musical score, translate it into a physical vocabulary, and create space for dancers’ expression in consistently innovative ways defines his choreographic approach. In Tuplet, through movement, vocalization, self-percussion, and comedic timing, demonstrating the multitudes of rhythm, both audible and visible alike, he offers audiences an answer to what rhythm is while he and the dancers explore what it can become. Ekman’s pursuit of audience connection, entertainment, and relatability is similarly evident in the work of Annabelle Lopez Ochoa. As she reflects, “The more personal I make it, the more universal it becomes.”

Creating intensively, with over 100 works in her repertoire and across styles, techniques, and even languages, Lopez Ochoa seamlessly maintains a complex yet deeply reflective choreographic identity. At age 11, her ballet teacher introduced her to choreography, telling her to “create and choreograph while I have a coffee.” Though unfamiliar with the concept, she soon found herself transformed. Time seemed to stop, and reality became strange, bizarre, and fascinating all at once. It was not until later, in 2003, that she fully committed to choreography. In the years between, she performed, and though it was not her passion, she recognized this period as an essential foundation for her choreographic work. Leading groups of dancers and artists effectively requires an intimate understanding of their experiences. “I had to go through the ups and downs of being a dancer feeling tired, bored, rejected, and facing the aging of your body. Knowing all of that informs the choreographer when working with dancers. Each dancer is sensitive, and they have to be. They’re artists.”

Rooted in Lopez Ochoa’s signature blend of poetic imagery and storytelling, Hypnagogia, a world premiere, completes the program. Exploring the transient state between wakefulness and sleep, known as hypnagogia, the work guides us through the ephemeral nature of consciousness itself.

Together, these three works in Catch Tuplet offer a compelling exploration of movement, rhythm, and musicality, each shaped by the distinct artistic voices of Scarlett, Ekman, and Lopez Ochoa. Despite their differing approaches, these works share a common thread: the seamless integration of music and dance, each shaping and elevating the other. As the dancers bring these works to life, Catch Tuplet serves as both a testament to the ever-evolving nature of contemporary choreography and a reminder of the boundless possibilities that emerge when sound and motion converge.

Don't miss Atlanta Ballet's final captivating performance of the 24|25 Season, at the Cobb Energy Performing Arts Centre, from May 9-11, 2025.

* Program notes by Margaux Nicolas.