Dk dance is the pairing of Deven Brawley, who gained attention with his all-male company d'shire, and long time friend and dance partner Keely Campbell. The two redheads specialize in duets about conflicting relationships, and a vivid piece that had them sparing in seductive combat upon a mattress was the highlight of Echoes at the Garfield Theater.

The drama and raw physicality in Hey Lover, Why The Gun? by LA-based choreographer Regina Klenjoski, fit Brawley and Campbell like second skin. Tantalizing and darkly humorous, the toxic relationship revolved around a simple mattress on the floor, illuminated by a single lightbulb overhead. Fighting for space escalated to aggressive pushing, slaps, hissing, and unwanted dog-like snuggles and grabs. Soft jazz played when Brawley casually walked over to a phonograph, but that was a ploy. Campbell was trapped. Cue Paul Anka's "You are my destiny..." The climax had Brawley let out a horny howl of delight as he climbed over her limp body.

Also impressive was Traversing Continuance, choreographed by Brawley and Campbell. It was a strong piece when they performed it at the recent Choreographers Showcase, but for this program they watched from the wings, which must have been invigorating. A clock started ticking, lights went up, and Katie Griffin shot across the stage into the arms of Matt Carney. Interactions around a table had extra snap, and leaps were more spontaneous. It is always good for artists to step back and view work from a new perspective. Clearly, that approach worked for this sharply focused piece.

Two premieres by Brawley and Campbell needed more focus and editing. In Chasing Places, three dancers adorned with body paint darted around to music by Bassnectar. Sequences were disconnected and their identity or mission wasn't clear. Were they super heroes? Ancient warriors?

In Ekam, Brawley and Campbell explored temptation and inner demons. Separated by an opaque white curtain, the fascination was watching them sneak a glimpse of each other, and ultimately cross over to the other side. A violin score banged loudly, and a beam of light shot into the audience. Brawley in white pants represented good, and Campbell in tight black leather that laced up the back was evil. So many strong elements didn't match the movement that was internally motivated and often achingly slow.

The premier of I Want For You To Listen, choreographed by Terry Wilson, was a smart duet with flashes of humor that Wilson is known for, but overwhelmed by the dense sound score by Brawley and Campbell. Music and expanded text all became a gray blur. One of the best sections had Brawley and Campbell undulating and jumping up side-by-side and quickly skipped to quirky ballroom patterns. That would have been engaging without any sound.

Brawley and Campbell also performed Remembering the Unremembered with Michael Nickerson-Rossi, who choreographed the piece. The three instantly grabbed attention as they walked forward, but that died quickly. The three split into two versus one, and back again, and it was all very smooth, but their focus was vacant.

Brawley and Campbell of Dk dance are highly talented artists and relentless performers who need to take a big breath and think about balance. They were remarkable in Hey Lover, but the tone of program was overly serious and needed some color and levity. Looking ahead, let's hope we see the twisted, humorous side of Brawley and Campbell in future concerts. (Inspiration: the gem "TruthOut!" a hilarious and provocative theater piece (by Brawley and the men of d'shire dance collective) that unabashedly promotes gay marriage).

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