The lights dim, pulsing beats begin, and the dancers, in a trance-like fashion, advance upstage just to fall back.  The dancers in Keigwin + Company’s Exit progress towards the audience, but speedily retreat back to the black wall with one exit. Enveloped in a charcoal gray hue, the setting is dim, misty, and murky.

There is no doubt that Keigwin + Company infuses theatricality with dance. From the risqué costumes and clubby setting, to the high energy steps and disco pulse, Keigwin manages to combine the best of both worlds. Following the rhythmic pounding of the background music, the dancers move with great precision. Of the three women and four men, many dances are coupled and perform as a group. The fact that couples include a man with another man, a woman with another woman, a man with a woman, and even a mixed group of men and women, reflects an underlying theme: Keigwin tests the waters of sexual orientation through his choreography. Individuality and dependence are explored in these partnered dances. The actions of all the dancers reveal a vulnerable trait. Through this journey of self expression and discovery, the dancers experiment with gender to find and search for answers. The dances performed by the partners and groups illustrate hints of aggression, humor, intensity, and even confusion.

The theatrical aspect of his choreography is displayed as certain everyday gestures are performed. A variety of actions that are not as common in the dance world as they are in the theater world include hugging and dragging. In one scene, a male couple dances; however, one dancer stands behind the other, controlling his every move. In another scene, an unconscious male dancer falls limp and lies on the floor as another male dancer spits down at him. A few moments later, a female dancer who is smoking approaches the lifeless man. She walks up to the body and taps her cigarette ashes onto him. However, a majority of the dances involve fast, structured movements. Evidently, Keigwin draws upon theatrical aspects in his choreography to put on a performance that is as explosive in energy as it is witty.

The dancers are dressed in black provocative clothing. With a selective variation of costumes, a majority of the costumes reveal a tremendous amount of skin. This reflects the usual club attire. As ironic as this might seem, the male dancers, especially, leave a memorable impression with their scantily covered bodies. Drawing from his imaginative sense of theatricality, Keigwin successfully intertwines witty expression with movement.  In one scene, a man walks out wearing nothing but a black jock strap, a see through top, and high heels. He lip syncs to a song while strutting around in heels. There is no denying the fact that a statement about individuality is being made. The attention-seeking costumes, along with the synchronized partner dances, evoke gay club culture. Soon, all dancers move to the rhythm of high heels and barely-there costumes.

Despite the seemingly provocative content of the aesthetic appeal, it does not amount to shock for viewers familiar with Keigwin’s work. Keigwin, with his known habit of experimentation, interlocks theater with dance and music, and creates an enjoyable and highly entertaining performance. With the attitudes and actions of the dancers, the risqué and loud costumes, and hypnotic pulsating music, Keigwin produces and delivers a dramatic and explosive performance.