Choreography by Kyle Abraham, Joshua Beamish, Brian Brooks and Alejandro Cerrudo

Can one escape 20+ years of habit?  

Even with four different choreographers, Whelan still seemed very much “the same.” There is no doubt that Whelan is a beautiful mover, but is she a restless creature?   Perhaps, but she seemed held (hostage) by her history.  There were flashes of the classical throughout the four dances, but it was the articulations of her feet and grace of her arms that oozed ballerina.  For me, her habit stood out more than anything else.

What is the fascination (a kind of fetish) of seeing what happens to ballerinas after they leave the comfort of their companies, mentors, tutus, and partners?  What does it matter for mean for Whelan to be different on the stage – or at least trying to be different on the stage?  

In many ways, I was restless for Whelan.  I yearned for something more radical than her hair falling out of its tightly constructed bun.