“Céilí” is the Irish word for house party, and also a group dance that weaves spatial patterns drawn from Celtic knots. ‘Céilí’ is thus a fitting title for a collaboration between her two dance groups, which has Irish roots, though generic. Sean Curran Company When Dara Karr dance.
Karan and Kerr, from whom both companies are named, have a lot in common. They are both Irish-Americans who grew up learning traditional step dancing before turning to contemporary styles, and both founded his company in the late 1990s. They have worked together before, creating “Dingle Diwali” for Kah’s group in 2012. “Céilí,” which they debuted at the Irish Arts Center on Thursday, is more of a reunion, meant to unite rather than break new ground.
Cheiri’s success hinges on music. Dana Lynn and Kyle Sanna playing live. They start the show with charm and, like a baroque gigue, provide the much-needed sweetness and drive, along with some unusual touches, keeping the joy throughout.
Carr’s dancers enter first — the Irish Arts Center is home to them — showcasing intricate floor patterns and lively skill (especially Trent Kowalik’s sparkling footwork), but with a nasty soft focus and recital’s I will also introduce a smile. It actually feels like a surprise when Karan’s group shows up like late-arriving guests.
After the initial merger, the two companies will replace each other. Curran’s cohort looks more professional, and his choreography is more sophisticated and original (although the Bill T. Jones/Ernie Zane borrows gestures from his time as a member of His Company). He delivers an excellent male duet of Jack Blackmon and Benjamin Friedman, suggesting charm through standard repetition and other formal means.
Carr’s choreography is more playful, alternately reflecting the glamorous and harrowing sides of amateur energy, and getting its punch from artful, articulate Kendal Griffler-like hard-shoe solos. When the two groups unite, the energy rises with the addition of bodies — an intertwined, movement-filled stage — but the merger doesn’t produce any special hybrids or discoveries.
Instead, the excitement comes from props and entrances.The high point is the insertion of “Box Tops,” a 1985 body percussion duet by Tigger Benford and Martha Partridge. On this song, her two dancers seated on a wooden box complete layers of intricate rhythms and tones with claps and stomps. Friedman and Lauren Kravitz give the duet a flirtatious edge and bring sexual responsibility to the shared risk of musical timing. with varying success.
But the big event – Spoiler Alert – is when the hosts finally show up and Karan and Kerr take the stage like mom and dad to prove they still have it. And it’s fun to watch.
The Sean Curran Company and the Dollar Car Dance
Until Sunday at the Irish Art Center. irisartscenter.org.