Revolving doors in Miami.

Shifting alliances have turned South Florida dance figures into quick-claange artists. Only last spring David Palmer and Yanis Pikieris, choreographer-directors of the financially strapped Maximmn Dance Company, joined forces with Ballet Gamonet, a company in gestation ("Dance Matters," July 2005). The pair hoped to continue creative life with economic stability. That partner ship soon soured, however, and now Palmer and Pikieris have gone over to Miami City Ballet as program directors of a contemporary dance series to debut in January.

"The timing has been amazing," Palmer says. "Things were happening at Miami City, Ballet that made it possible for this project to snowball. It's interesting because of a very broad job description." The many hats Palmer and Pikieris wore at Maximum will come in handy as they scout for choreographers, negotiate contracts, rehearse the company, and coordinate performances. "There will be no problem with getting bored!" Palmer anticipates.

The enthusiasm he and Pikieris are riding has left behind their frustration upon resigning from Maximum Dance Ballet Gamonet in early August. As Palmer then commented about the troubled merger, "Yanis and I have a strong sense of collaboration. That's the only principle that could have made this succeed. In reality, we were not invited to fully participate."

They had to learn through a newspaper article--after a well-received May concert mostly of works by Jimmy Gamonet de los Heros, artistic director-in-chief of the twinned organization--about a name switch to Ballet Gamonet Maximum Dance. "We could see the writing on the wall," Palmer declared, perturbed by the flight of some dancers and board members.

Despite Palmer's and Pikieris' resignations, Gamonet remains confident about his first big venture since his job as resident choreographer at Miami City Ballet was axed more than five years ago. "I've been talking to people with whom I've established relationships to find replacements in programming," says Gamonet, expecting to involve choreographers like Alonzo King. He's pleased with the talent his new company has already drawn, including Isanusi Garcia-Rodriguez, a forceful principal at MCB until last season. More significantly, Iliana Lopez defected to Gamonet's organization in late summer to serve as ballet mistress, the position she held at MCB for a year after a lengthy career there as a stellar ballerina. She has cited her long familiarity with Gamonet's choreography and a desire for flesh opportunities as reasons to move on.

Edward Villella, founding artistic director of MCB, wishes her well but prefers to focus on the excitement brewing at his company in its 20th anniversary season. The coming onboard of Palmer and Pikieris, former MCB principals he once groomed in roles intimately associated with him, jibes with Villella's standing plan to have MCB delve deeper into very recent choreography and his commitment to Miami Beach. In 1997, the city donated land for the company studio. And there, after renovation of a performance space, the contemporary programs will see the light.

"The guys have great ability," Villella says about his new directors, who will also head the company's Young People's Program. "They have a following--and access." Just the right kind, he's sure, to keep MCB fired up, starting with a Jan. 27-28 bill that includes dances by Lynne Taylor-Corbett and Trey McIntyre, and Mark Morris' Silhouettes, choreographed for Palmer and Pikieris a few years ago. After the fractures and fusions, it's the kind of initiative that could set local dance on a track to stronger growth.