This wordless dance-theatre piece is performed by two males, one appearing to be about 14 years old and the other around 28. It is performed in an empty space under sparse lighting, and explores various forms and insinuations of physical intimacy between the two. At times their actions can be seen as those of brothers, or of a father and son, or as the early expressions of intimacy between lovers. Given the age of the younger performer, this aspect is likely to generate some controversy and yet the action is never suggestive of a sexually abusive relationship, or explicitly erotic. But for the occasional presence of some overtly dramatic moments, such as the older man’s sobbing over the apparent death of the younger, it might alternatively be taken as a purely formal exercise exploring the compositional and aesthetic possibilities between these two bodies. The general style and effect is a choreographic minimalism of gently shifting transformations that play on these ambiguities.

It begins with the typical live art trope of staring at the audience apparently without any intentional expression, as if to say, ‘this is me, just being here, being who I am’. There is a sudden, synchronised intake of breath and then begins a slow-moving duet conducted in silence with the two looking into each other’s eyes from close proximity and mirroring their actions. The intensity of their fixation combined with the slowness of their actions creates an overpowering silence in the space, and I highly advise anyone with a dry, tickly cough to come equipped with a lozenge.

Creeping together on all fours, the performers’ faces move gradually towards the anticipation of a kiss – before interlocked heads transform the action into a pushing competition, reminiscent of fighting stags. Wrestling holds transform into embraces, and caresses into playful slaps, with some sections accompanied by choral music that poeticises the physicality of the male bodies, stripped to the waist to reveal muscle and spine. Most of the show uses a row of low hanging lights that illuminate from directly above, which acts to emphasise this interest in the formal properties of these male bodies. The slowest sections of choreography are accompanied by even slower lighting fades, creating a calming and meditative atmosphere that divests the work from its potential air of paedophilic paranoia (and the post-show discussion confirms this was part of the intention). The constant staring also reads like an exercise in bonding, overcoming the culturally imposed awkwardness at such intimate attention, also suggested by the repeating motif of quick, deep, synchronised intakes of breath that punctuate the show.

Towards the end, a series of banked lights from the back gradually increases the illumination, the brightly lit outlines of their bodies giving the impression of a Renaissance painting. A returning choral cantata adds to this effect and the choreography creates some distinctly Christ-like iconography. It’s a gentle and meditative show, which draws out the cultural baggage of our concerns and misinterpretations over representations of paedophilia and homo-eroticism. It led me to consider again that forms of male intimacy shift across an analogue continuum of shades and effects, rather than being easily and sharply divisible into the sexual or platonic, acceptable or unacceptable. Late in the piece the two hold hands and the gesture can be seen simply: as not necessarily significant of anything other than that it can feel nice to hold another’s hand.