Rounding out the program was Milwaukee Ballet company artist Eric Figueredo's “The Pulse of Becoming.” Also for eight dancers and set to music by Peduto, along with a composition by Tom van Wee, Figueredo's ballet explored a theme of “life as a rhythm that never truly stops.”

Silhouetted in pulsating light, BalletMet's dancers showcased their technical prowess as they danced in a dreamy, dark-toned atmosphere to cinematic music. Figueredo's contemporary choreography was smartly tailored to the cast, flowing seamlessly between appealing choreographic phrases that used a variety of dancer groupings and formations. The dancing ranged from tight twists and turns to slides, leg lifts, and intricate partnering.

Highlights were dancers Vincent Van Harris and Claire Wessells in a delightfully performed pas de deux in which Figueredo appeared to channel the bold choreographic style of La La La Human Steps' Édouard Lock, as seen in his works “Salt” and “Amelia.” The pair moved through swift, precise partnering delivered with attack. Van Harris skillfully turned, held, and spun an en pointe Wessells, whose elongated legs and feet tapped the stage as they rose and fell out of retiré. 

Like Jung's “Still, We Move,” “The Pulse of Becoming” was well-crafted and polished. But amid the dark ballet's uncanny dancing, it could have used a splash of color to switch things up.