Dance Review: Drenched by Luke Murphy

“There is something about when you are soaked by a heavy rain. You give in…realize that sunshine is not coming. There is an empowerment that comes with it. I think of passion that way,” says dancer and choreographer, Luke Murphy.

The Ireland native and Point Park graduate brought his latest duet, Drenched, to the Kelly-Strayhorn Theater this past weekend, for its US premiere. Murphy showed snippets of the piece as part of the East Liberty Live Series over the summer, leaving audience members intrigued and excited for the full length version.

The hour-long finished product did not disappoint. Murphy and his dancing partner, Carlye Eckert, brought their quiet passion to the stage in an exploration of romance. The aim of the piece was to deconstruct idealistic notions of romantic relationships portrayed by the media, arts and literature.

Sometimes humorous and other times beautifully realistic, Murphy and Eckert revealed how passion can, indeed, feel like being “drenched” by a downpour.

The piece opened with a more conventional image of a romantic partnership, an embrace. The two dancers swayed slowly center stage as the lights rose gently, then fell not long after.

A solo by Eckert led into a very funny section where Murphy wrote love letters to a woman named Agnes, as Sinead O’Connor’s Nothing Compares to You blared over the speakers. What began as amorous affection, ended in name calling and beer drinking when Murphy realized that Agnes didn’t feel the same way.

Another hilarious part came later in the evening when popular movie scenes were projected onto a large screen. When Rose and Jack, main characters from Titanic, moved into the famous “flying” scene, Murphy and Eckert acted the parts while a robotic voice gave them stage directions – Take two steps forward; close eyes; tilt head; hands on waist. The section used incredible wit to expose the insincerity of the scene.

To break up the moments of dry humor, the dancers used effortless partnering, and impressive movement phrases to convey the more genuine aspects of a relationship. Two of those sections stood out.

The first came after a scene from Gone with the Wind, when Clark Gable spoke the line, “Frankly, my dear, I don’t give a damn.” Murphy and Eckert moved through a mostly disconnected duet, as rose petals fell from the rafters over their bodies. An honest sense of letting go came to mind.

The second was near the end of the show, when the dancers performed a more intense section, representative of an argument. Devoid of melodrama, the two pushed and pulled against each other, using quick and bound energy to depict an emotional struggle. The effect was authentic, and quite moving.

To close, Murphy cleverly brought back the image from the opening, this time with a more realistic version of what it means to be in a partnership. In what appeared to be a balancing act, the two leaned against one another, working to stay afloat despite the water that had soaked them.


Filed under: Adrienne Totino, Prose, Reviews: Performing Arts