In its second-season opener, Dark Circles Contemporary Dance showcases its expanded movement vocabulary and comedic flair in three very different premieres.
Fort Worth — Anyone who has seen Joshua L. Peugh’s work knows that he is not the type of choreographer that takes himself too seriously. And thank goodness for that, for Peugh’s topsy-turvy choreography and unique sense of humor has been a most welcomed addition to the North Texas dance scene. A fact that was reinforced this past weekend with three packed performances of Dark Circles Contemporary Dance’s second season opener,Beautiful Knuckleheads, at the Sanders Theatre at the Fort Worth Community Arts Center that led the company to add an additional fourth show on Saturday afternoon.
The program opened with Chad El-Khoury’s Words In Motion. El-Khoury’s slower, more simplistic movement choices were a nice change of pace from Peugh’s multi-layered movements. Dressed in jeans and tanks in hues of cream, blue, green and red, the six dancers remained stationary for the first section while exploring their range of motion side-to-side and up-and-down in the form of hand stands, tilts, and upper body extensions. The dancers’ clean lines and moments of stillness gave the audience the impression that they were actually spelling out words with their bodies. As the dancers began moving around the stage they added in a few dynamic surprises such as a double coupe turn into a leg extension or gliding backwards across the stage on all fours. The tranquil movement was accompanied by the unyielding beat of Hunter Long’s “Without Any Considerable Proportion.”
Intensely alluring and pleasantly dark, Nucleus depicted the various ways energy affects individuals and groups. Inspired by solar panels, choreographer Mike Esperanza used geometric patterns, action and reaction modes of motion, continuous physical connections and special lighting to emulate the sun’s energy. Clad in basic white, the five dancers ran, rolled, gyrated, and manipulated one another through a series of primal gestures and partnering skills. Esperanza’s graphic design background added dimension to the piece and was most effective in the section where Salvatore Bonilla shined a flashlight on Kelsey Rohr as she erotically lip-synced to Nina Simone’s version of “I Put a Spell On You.”
Esperanza also embraced the bareness of the performance space by having the dancers slide up and down the stage left wall while performing a series of isolated body movements reminiscent of those seen in a nightclub. This particular section was a testament to how an individual’s energy, while not necessarily pretty in this case, can still be mesmerizing. The opposite is also true which was beautifully showcased by Dexter Green and Steffani Lopez as they melted into each other’s arms and began slow dancing near the end of the number.
The performance concluded with Peugh’s ’80s pop-inspired piece, Beautiful Knuckleheads. Dancing to the catchy tunes of “Kiss On My List,” “Maneater,” “Sara Smile” and “Private Eyes” by Hall and Oates, Peugh combined ‘80s moves (step touches, pelvis pulses and body rolls) with his own quick-witted and contorted style (loose limb jumps, knee-bruising floor work and comical gesturing) for a fresh and funky performance. During “Kiss On My List” the dancers freeze and kiss their closed fists as they stare down the audience. Peugh was in his element bopping his head, caressing his body and nuzzling Emily Bernet during “Maneater.” His partnering section with Green featured counter-balance holds and quirky flips, dips and spins, all signatures of Peugh’s. His comedic timing is also gaining strength, which was evident throughout the work from the ladies’ Jane Fonda leg lifts in “Maneater” to the group’s open-mouthed facial expressions in “Private Eyes.”
This show was a defining moment for Dark Circles Contemporary Dance. The company has accomplished in one season what many established North Texas companies have been trying to do for years, and that is reaching a younger audience base. This can be attributed to DCCD’s strong presence on social media and young group of dancers, but it’s more likely due to Peugh’s eccentric personality and fresh ideas that just naturally appeal to a younger crowd. The biggest challenge for the company moving forward is going to be finding a larger venue for its future performances.
This review was originally posted on TheaterJones.com.