FIRST POSITION
Come In Demi Soloist Syvert Lorenz Garcia shares his experience on revisiting Aszure Barton’s Come In ANATOMY OF A SCENE
MEDITATIVE MASCULINITY
Garcia emphasizes the calm, almost zen-like feeling in the
ensemble movements, where the focus shifts from bravado to a more introspective expression. This serene energy allows the dancers to reveal a side of masculinity that is rarely
CHAIR SECTION A unique element in Come In is the introduction of chairs, where the dancers perform a thematic step. Garcia notes that this section pulls moments from real life, bringing an organic quality to the performance that blurs the line between the staged and the lived experience.
seen on stage—one that is introspective, connected, and deeply human.
By Kharma Grimes
A LITTLE TENDERNESS
BIRDS-EYE PERSPECTIVE
Barton encourages the dancers to be aware of the entire stage, not just their individual roles. This holistic approach, described by Garcia, fosters a “communal sense among the dancers,” allowing them to stay present within each step and contributing to the overall fluidity and cohesion of the piece.
In Come In , the dancers explore intricate, delicate
movements that contrast with the traditional expectations of male dancers. Garcia describes a moment where the ensemble touches their faces in a “tender, almost weighty” gesture, showcasing the softer side of masculinity.
ASZURE BARTON’S COME IN is a poetic ct ho en tt ey mp i pc ao lr aproyr tbraa lyl ea tl ot hf amt ac shcaul ll ei nnigt ye s ot on Vsltaadgiem. Ti rhMi s ai nr ttyrno os pv e’ sc mt i veedpi tiaetci ev e, s e t aml la- lset rdi na ng csecrosr ae n, fde aetxuprleosr et hs itrht ee emne s oOfr vi gui lnnael rl ya bpirl ei tmy, isetrreedn gb tyhH, aonuds tuonni t y. Ba ta Nl l eetwi nYo2r0k1 C9 i at yn dC el antteerr pf oerr ftohrem e d company’s 50th anniversary, Come In now returns to the Wortham stage. Demi Soloist Syvert Lorenz Garcia, who performed in the Houston Ballet pe xr epme riieernec ienr2e 0v i1s9i t, i rnegf ltehcet swoonr kh.i s“ B e i n g
slightly older helps,” Garcia shares. “The steps are still in my body, so this tf ei me lei n, Ig goef t t thoe fmo couvse omne anct hi ni esvt ienagd tohfe j u s t co W py o in rk g i .” ng with Barton has profoundly impacted Garcia’s approach to dance. “She has a way of making you feel like yp or ou caerses ea nl l oo uwgsh t, ”h he ed saanycse. rBs atrot of onc’ su s ot hna tnh set er isvsienngcfeo or ft emc oh vnei cma el np te rr faet chtei or n . Twhhies raeptphreoda ac hn ccerresa ct easn aenx pe lnovrier ot hn emi re n t individual identities onstage. Come In is unique in its portrayal of male dancers. Garcia describes
the piece as offering a “zen-like” ae xt mp roesspshae sr eo fwt ehr,emr eotrheet edna dn ec er rssi dc ea no f masculinity. “It’s always trying to show a different aspect of men,” he explains. “This ballet softens everything and lets ud so ns ’ht oowf t eans gi deet toof oe xupr sl oerl veeisn tthraa td wi t ieo n a l baAllsetG.”arcia and his fellow dancers prepare to perform Come In , they look forward to bringing their personal experiences and refined us tnadg ee r, sotfaf en rdi inngg aouf dt iheen wc eos r ak pt oo wt heer f u l e b x e p . loration of what it means to simply
HOUSTON BALLET
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