Compagnie K?fig

Mourad Merzouki's dance company Compagnie K�fig, originally formed in 1996, was brought to Citi Shubert Theatre February 7-9 by Celebrity Series of Boston. Born in Lyon, France in 1973, Merzouki's childhood and adolescence were devoted to circus training, martial arts and then hip-hop.

Compagnie K�fig's (Company Cage) show was comprised of two half-hour works choreographed by Merzouki that were inspired by the backgrounds of his 11 dancers, who grew up in Brazilian shanty towns. He used a collage of sounds and music to support his interwoven movement styles.

"Correria" ("Running," 2010) opens with his 11 dancers in ever-changing combinations charging around the stage. When they run in a speedy circle, highlighting individuals who take to the center of the circle to do hip-hop moves, it is reminiscent of the Brazilian martial art Capoeira.

They break into five couples, one restraining the other with an imprisoning hug from the rear, so that the lifted partner's efforts to run turn into air-born cycling movements. While the piece projects more a sense of good-natured tussling than of any homoerotica, one duet between two shirtless dancers whispers of unrequited love.

A dancer running in place complements a video projection of a runner, while a line of reclining dancers use footed stick props to add to the density of a wave of kicking legs. These stick legs turn into double canes as the dancers return to their feet, as if swelling the numbers of the dance company. These "legs" add charm and wit to the stage.

"Agwa" ("Water," 2008) is built around a plethora of plastic glasses, used in changing ways around the stage floor. With a beautifully effective lighting design by Yoann Tivoli, the simple plastic glasses sparkle. The light on the water as it is poured from one glass to another reminds us that water is as precious as jewels. The dancers toast the audience as a happy finale. Unfortunately, the precision of the unison moves in this piece could have been better polished.

The Compagnie K�fig was well-received by the audience and in their joyous encore the dancers highlight both the strengths and weaknesses of their performance. The encore allows each one to perform his favorite individual tricks and, while their moves and acrobatics are crowd-pleasing, there is an unevenness -- throughout the evening -- to their execution, mitigated, however, by their collective vigor and animation.