Elizabeth Whelan

 

Dance review: skinner/kirk take the old with the new

Dancers and dances age, but they don't stay in one place

One new work, two old works, five men, and ten years between then and now, old work and new.

That’s the formula for skinner|kirk Dance Ensemble’s concert at BodyVox (through February 10). The pairing of old and new work isn’t its only consideration of the passing of time: The concert also explores the passage of time for its creators. The company was co-founded in 1998 by Daniel Kirk and Eric Skinner, and both have had extensive careers in performance (notably with Oregon Ballet Theatre and Milwaukee Ballet). They were both founding dancers of BodyVox, where Kirk continues to dance, and they started skinner/kirk to present their own work. Reflection on that lived experience is at the heart of this concert.

The first piece, 54/27 (the ages of the dancers involved) paired Skinner with a much younger dancer, Chase Hamilton. The work begins in unassuming simplicity. A modest spotlight outlines the emptiness of the space. Moving calmly, the men take their time easing into movement, starting with simple walking. These walking patterns lay the groundwork for the evening’s one new work, allowing the audience to acclimate to the dancers’ bodies and demeanor, without the fluff of performance and gaudy dance moves to distract from their humanity. After a few minutes, they invite more motion into their bodies, sustaining by the powerful presence the two had already established.

Chase Hamilton, left, and Eric Skinner in the world premiere of Skinner’s “54/27” for the skinner/kirk Dance Ensemble at BodyVox/Photo by Blaine Truitt Covert


Intensity grew, in part due to composers Verdi and Charpentier’s baroque crescendos, that undergirded the grounded movement. The choreography and execution maintained a calm that kept the work centered and relatable. Skinner and Hamilton demonstrated that their physical movements need not override their emotional presence throughout the work by allowing the two to exist in a complementary fashion. At times, the delicacy with which Skinner attended to his movements recalled the many years of training he has spent becoming innately attuned to his body as a seasoned dancer. Simultaneously, Hamilton’s spritely energy and eagerness of focus highlighted his youth and tenacity. For a work that focuses on the juxtaposition of age, the duet was one of equals. Counterbalancing one another, they sewed movements together in a way that made 54/27 a work fully dependent on trust and respect.

Continues…