Sometimes the quietest moments make the strongest statements.

The stage was dark except for a single sidelight coming from one of the wings stage right. Sawyer Eason moved slowly on the floor, in complete silence. He pushed up on his hands, twisted his arms, dropping and pivoting through different bent and contorted positions; he seemed to be in a struggle. Sawyer’s steady focus was mesmerizing. He was “in it” completely, and so was I.

I was so enthralled by the movements that I was startled when the music began. The piece, “Nike, Dixos Ftera: Victory, Without Wings” continued with three female dancers joining Sawyer. They danced around him, and at times with him, all of them ultimately repeating some of Sawyer’s movements from the opening of the piece. The piece in its entirety was strong; though the opening section (magnificently performed by Sawyer) could be extended and become an amazing independent solo.

Art | TRDance

“Nike, Dixos Ftera: Victory, Without Wings” was one of the eight dance pieces in the TRDance Ensemble‘s “In Concert” performance at the Benjack Studio Theatre this past weekend. The program had it all: a love story; a stylized 60′s era piece; a dramatic solo; and dancers in their underwear.

Yes, dancers in their underwear.

A wonderfully playful and lighthearted song, “Underwear” by Barry Polisar Louis, coursed through the theater as the dancers began “Don’t Mention It,” choreographed by Melanie Ortt. The lyrics immediately inspired giggles from the audience. Here is the chorus:

“Underwear is everywhere but mostly underneath.

Usually you can’t see what goes on beneath

Ragged clothes, evening gowns or the finest three-piece suit.

Underwear is everywhere; there is no substitute.”

The nine dancers began the piece in street clothes (dresses, pants, skirts, etc.), but as the dancing continued, everyone removed layers to reveal what is “underneath.” From long underwear, to briefs, to bras, to tank tops and boy shorts, the world of underwear was represented. The choreography was a tremendously fun mix of somersaults and kicks, the dancers weaving in and out of formation.

Of course, watching this piece made me consider what it would be like to dance on stage in my underwear. Dancers are so often put in costumes that are uncomfortable or difficult to maneuver; dancers must learn to dance around them, and adjust their movements to accommodate the costume. Dancing in underwear and having the ability to move with no restrictions or limitations must be so freeing. And perhaps liberating, too, to get past any self-consciousness and get out there and dance. At the show on Sunday, there was not one hint of shyness or hesitation in the dancers’ movements or expression. The dancers’ huge smiles and lively energy was evidence that they were having a blast as they skipped around the stage.

“Oh, My Sister,” choreographed and performed by Ronald Parker, was a very intense and dramatic solo. The piece was full of forceful jumps and crashing drops to the floor; the movements were very athletic and acrobatic. I found myself focusing not only on Ronald as he traveled around the stage, but also his reflection in the floor. I was seated in the front row, and I suppose the angle must have been just right; the lights and the bright red scrim glowed in the Marley floor so that Robert’s reflection was quite clear. Watching Robert and his reflection separate as he jumped, and come together as he hit the floor was fascinating; it was a wonderful visual effect.

The show closed with “Frank, Dean, and Sammy – Maybe?” which was a 60′s era piece set to songs and conversation by Sammy Davis, Jr., Dean Martin, and Frank Sinatra. The costumes were fantastic, the ladies in short ruffled black dresses, and the men in white dress shirts and black slacks. The entire company came together with kicks, leaps, and splits. It was a grand way to end the performance.

The TRDance Ensemble Winter Performance grabbed my attention in several ways; with silence, with underwear, with visual effects, with the “Rat Pack.” But overall, the opening solo of “Nike, Dixos Ftera: Victory, Without Wings” was the most impactful. Silence is a powerful thing.

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