The Limón Dance Company previewed a new commission by Bessie Awardee Kayla Farrish, a capable new voice in the field. The untitled work is inspired by two lost creations of José Limón from a residency in Mexico City in 1951. “Redes” (Nets), a representation of unity and collective strength, and “El Grito” (The Scream), an awakening of consciousness and freedom, exemplify José Limón’s social awareness and commentary as an artist of color. Farrish, with roots as an African American woman from the south, connected with the spirit and energy of these works using archival photos and writings to develop her own choreographic expression of the themes. Farrish has obvious skill in sculpting groups and individuals in legible movement tableaux, and the company’s dancing is admirable. Of note is the strong female duet stunningly performed by Mariah Gravelin and Lauren Twomley. I had hoped for a work of a more personal nature. The company has already presented several new commissions over the last few years—high intensity group pieces tackling similar themes. 

The NYC-based company, Boca Tuya, led by choreographer and director Omar Román De Jesús presented a duet for two men called “Like Those Playground Kids at Midnight.” With technically powerful and artistically nuanced dancers, Boca Tuya delivers thought-provoking work for mature audiences. De Jesús defines himself as a queer, puertorriqueño artist, and this duet, performed by De Jesús and Ian Spring, further mines the complicated territory of love relationships. Part love duet part wrestling match, the dance is a highly charged physical negotiation of attraction, resistance, vulnerability, and control. The two dancers were well-matched for the physical and emotional intensity of the choreography with its acrobatic demands and sensitive partnering.