Sara Shelton Mann

I’ve Been Watching

First Performances of 2018.  

Another slow start. I have yet to process all the dance from 2017. I saw a lot and wrote a little less. I did an interview, had a conversation, and invited a guest writer. I had fun.

My first show of 2018 was back in January. I caught Fresh Festival Performance Weekend #2 at the Joe Good Annex with choreography by Gerald Casel and Keith Hennessy; Sara Shelton Mann; Rachael Dichter and Allie Hankins. It’s interesting to look back – what do I remember? What lingers? Here are two lingering memories:

In” A Dance in a Theatre” Keith Hennessy kept all his clothes on!

Loved the refrain at the end of “FramesFrames/The Revolving Door II” by Mann. It was a satisfying repeating of song and movement that brought some of the audience on the stage – I couldn’t help but smile.

I also snuck in A.C.T.’s production of Harold Pinter’s The Birthday Party. I loved all of it – the acting, storytelling, the humor. I didn’t mind being out past my bedtime. 

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April 19th, “Sarah (the smuggler)”

Choreographed by Sara Shelton Mann in collaboration with Keith Hennessy

What if I don’t get it?

I haven’t seen it yet, but I read a little bit about the background on this piece.  I must admit to some hesitation.  Does it matter if I know the history or Mann’s story? 

After seeing the piece, here are my reflections:

Moving history – Moving self

A beautiful exercise in present-ness

Archive/Study/Repeating Differently

Energy – energetic

Great words

I didn’t get the whole of the piece, but I came away with something. Sometimes dance makers/collaborators make dance for themselves or small “select audiences” (take a look at Hennessy’s interview).  I get that as a process, and yet I don’t get it.  I wonder how many in the audience had seen or worked with Mann before?