Choreographed by Jess Curtis with conspirators Claire Cunningham (Scotland) and Jörg Müller (France).
There was talking to the audience, thank you Jess Curtis.
I had a hard time finding time to write this response so this might be a bit scattered. I wasn’t worried about the chairs scattered over the performance space (reminded me of a William Forsythe piece I saw in Dresden Germany in 2011). And I wasn’t worried about participating in the perspective “game” during The Way You Look (at me) Tonight. I did get worried when I read that the running time for Performance Research Experiment #1 was “totally up to you.” This piece was about engagement. The audience was asked to participate by verbally acknowledging when they became less engaged by the different sequences of virtuosity – interesting! I question whether these sequences were really virtuosic (throwing balls from behind a curtain?). Unfortunately, the audience turned the experiment into a game, and I quickly became irritated. I didn’t need to see the excerpt from The Dance that Documents Itself, but loved the “dancing” in Mobile and the lovely singing by Cunningham at the very end. It was a beautiful ending, and I didn’t mind staying out later than normal.