Avila/Weeks have chemistry, energy

Duo's dance drags in the middle

Even in the most casual interaction the strong connection between Homer Avila and Edisa Weeks is evident. This certainly became clear in their performance last weekend in Hall auditorium. Their partnership began as "sort of a fluke" in 1991 when Avila and Weeks entered the studio and began work on their first piece "It Broke at Dawn." And their bond is not merely the audience's perception: "When I dance with Homer, I feel a real connection," said Weeks.

Both dancers said they were immediately aware of an attraction and an artistic compatibility. "I recognized her ability to take and create risks," Avila said. The sharing of ideas, the chemistry, and the tension helped to create a partnership in which, as Weeks said, the "kinetic sparks fly."

The dancers come from very different backgrounds; they differ even more in their artistic development. Weeks was introduced to dance at an early age but rejected it when her brother insisted that dance was for sissies. As she grew older she began to realize that dance was an effective creative outlet. "I could express my anger, my joy, my frustration, my happiness," she said.

Avila came to dance at a later age. It was not until he went to college that he took his first dance class from that point on he was driven to pursue a career in dance.

The performance was marked by sexual tension, whether effective or contrived. In their first piece, "Sound Bound by Wings," there was a moment of simulated coitus that left the audience on the edge of their seats witnessing something intimate and private. The piece inspired a voyeuristic thrill as it progressed.

The final movement was Weeks seated upon the feet of Avila as he "swam" across the stage on his stomach. The level of skill, technique and strength was impressive, the passion gripping.

In Weeks' solo performance, "Dissolved by Rain and Newborn in the Soil," the artist explored cultural identity through dance and her own words. At this point the music was particularly striking. A fusion of traditional African music played over Bach provided a unique harmony which resonated nicely with Weeks' performance.

There were, however, some weak points to the performance. Through the middle portion of the performance the duo lost some of their energy. Perhaps the rigorous sequences took their toll on the performers. Although their physical stength was breathtaking, the dancers may have mistakenly opted for power over artistic impression. At times they over-compensated resulting in melodrama that was entertaining, but not engaging.

Overall the Avila/Weeks Dance Company exhibited an incredible professionalism that extended from their choreography to the work of lighting designer A.J. Weissbard. It was a complete performance; each dance was a separate entity in itself. Each dance had its own atmosphere, but was still connected to the whole by the intensity that Avila and Weeks invest in their work.

Acknowledging the immense undertaking that is any artistic endeavor, Avila said, "Life in the arts is difficult; life in the dance is impossible."