The closing work of the program, Twyla Tharp’s “In the Upper Room,” is a real barnstormer. As difficult and exhausting as it is, it never fails to miss the mark. Along with its driving and constantly churning score by Philip Glass (played in recording), the choreography just grows and grows, from a cool, almost nonchalant opening to an ecstatic, sweaty, almost gladiatorial dénouement. Each section introduces differently-assorted dancers, some in sneakers, others in ballet slippers and pointe shoes, all dressed in combinations of Norma Kamali’s black-and-white stripes and red leotards. It’s a very 1980’s ballet (it premiered in 1986) not only because of the look, but because of its vocabulary, which combines aerobics, sports drills, soft-shoe, karate kicks, and Tharp’s own highly personal, pared-down vocabulary of ballet.

Here, the Sarasota dancers look completely like themselves. The exhaustion of the relentlessly aerobic movement frees them; they don’t worry about making mistakes or looking perfect. Instead, they allow themselves to be driven ever forward by the music, moving with a look of ease and confidence. Shelley Washington, who set the ballet, has gotten them to let go of their tendency to smile brightly and move with politeness. Here, they go for broke. A few standouts in the cast—the same at both performances— included Iglesias and Ivan Spitale among the “Stompers,” guys in sneakers who move with the cool superiority of high school jocks; Lauren Ostrander and Sierra Abelardo, strong and refined in two of the ballerina roles; and the ferocious Anna Pellegrino and Dominique Jenkins, who both start and end the ballet. 

It's good that Sarasota Ballet keeps aiming high. That is the only way for a company to grow. And if at times they don’t quit reach their mark, it’s just a step along the way.