The Chase Brock Experience, presented in five breathtaking movements, featured a winning combination of heartfelt storytelling and thought-provoking reflection. Brock’s cleverly crafted narrative vignettes successfully mixed the serious with the silly. Paired with his more abstract movement sequences, the evening had something to interest an audience of all ages.

Dubbed a “prolific” choreographer by Gia Kourlas, dance critic for the New York Times, Brock is more accomplished at 30 than most choreographers hope to be at 50. Brock’s resume is riddled with illustrious credentials in multiple genres. From his teenage Broadway debut in the 2000 revival of “The Music Man” to his choreography set to original scores from up-and-coming artists, Brock is a man with a well-developed artistic sensibility. 

Brock and his CBE company took part in a week-long residency at UNC Wilmington, which culminated in a performance at Thalian Hall on Oct. 25. The audience watched as Brock’s diverse troupe performed high-octane routines, starting the night off with “Mission: Implausible.”

This piece, set to Joshua Rosenblum’s suspenseful composition, lived up to the “experience” promised by CBE’s moniker. From this first number, the troupe members’ dance backgrounds were as diverse as their ethnic backgrounds. From the lanky ballerina-turned-rebel to the petite female dancer with an impish grin and heaps of enthusiasm, Brock’s company wowed the audience.

The set design boasted a traveling-carnival tent made of multicolored fabric and what appeared to be PVC piping. This set piece created two distinct effects as the dancers incorporated spinning the giant structure around to allow the audience a “backstage” view. Though the set might have been economical, the fabulously over-the-top choreography with its exaggerated movements and technical virtuosity rendered elaborate sets unnecessary.

The costuming, similarly minimalist at times, often left little to the imagination. 

“It just looks like a lot of people dancing around in their underwear,” said Ella Hammer,  nine-year-old daughter of UNCW student Steve Hammer. 

Yet even Ella, who was skeptical of CBE’s costuming choices before the performance, was won over by the dancers’ apparent pride in their lack of outer garments.

In what was perhaps the most interesting costuming choice of the evening, Brock wore a patterned suit by an up-and-coming British design duo. During a Q&A portion after the performance, Chase confided that the suit was a gift from his husband in honor of his 30th birthday. 

The Q&A also provided the opportunity for audience members to engage with the dancers on a more personal level. Interestingly, when asked to share their favorite dance styles, less than half of the dancers chose contemporary or modern dance as their favorite dance form. 

Brock continually praised his dancers during the Q&A, calling them “excellent musicians and collaborators,” and thanked them for realizing his artistic vision.

With only a few minor adjustments, CBE has the potential to carve its initials in the annals of dance history. If Brock can overcome his Broadway roots and learn to avoid literal interpretations of song lyrics, he could make a name for himself among his favorite choreographers. And as he gains experience, Brock may learn to pair his knack for compellingly integrating dance styles with his poignant explorations of more abstract concepts.

Still, CBE’s combination of toe-tapping beats, Broadway-bedazzled quirkiness, and technical prowess left its Wilmington audience breathless with wonder.