[Michael Spencer] Phillips and Hunt (who portrays Rioult the younger) do superb work.
Jere Hunt plays an Iggy-Ziggy rock god, mesmerizing his band of followers with animal grace...
Jere Hunt, who played the band’s leader and the era’s emblem, performed ignited.
I was very drawn to a duet with members Jere Hunt and Sara Seger which introduced the nuances of a torn relationship in WWII. The section began to read like the others, but the aggressive contact work between the two dancers was fresh and left much to the imagination as it contrasted Piaf’s sullen song [“La Vie en Rose”].
Jere Hunt’s self-flagellating penitent and Michael S. Phillips’s enigmatic Christ Figure were richly developed, and Ms. Haines was deliciously intriguing, ascetic, and seductive as ‘Mary as Virgin, Magdalen, Mother’... The three of them performed the work as well, if not better, than I’ve previously seen.
With his god-like physique and powerful dance, Jere Hunt’s Penitent was a perfect portrayal.
Hunt’s moving performance included self-flagellation with a thick rope, which left red welts on his shirtless pale-skinned back.
Each role was nourished individually by an artist who had played it before... former Graham dancer Ken Topping channeling Jere Hunt’s inner Eric Hawkins for the boyish curiosity and self-flagellating shame of the Penitent...focus and precision was at its highest level of the evening and never faltered.
Jere Hunt created a caring yet heroic Achilles who was dedicated to Ms. Sato’s Iphigenia.
Rather than setting this as a classical pas de deux for a man and a woman, Pascal fashions a memorable double duet for two women and two men (Jere Hunt and Michael Spencer Phillips); each couple explore their emotions with a sense of tenderness, curiosity, and mutual support.
The program closer, created specifically for its undergraduate dancers, proved the piece de resistance at Marymount Manhattan... Among these, Jere Hunt [listed with 4 others] merited special attention.