“Neil Greenberg has made clear that This does not have meaning per se; it is not “about” anything. The dance is to be seen as an exploration among a formidable group of collaborators, including dancers and creative partners. Using taped, improvised movement as a starting point, Greenberg and the dancers have built detailed re-creations of movements, weaving a construction that echoes as the dancers create phrases and patterns, dissolve, re-make, and build them again.
This is an exercise in discipline and relationship; and the choreographer has ceded control to his four magnetic dancers, letting their distinctive bodies and artistry drive the exploration. Even when they repeated the same phrases, each drew on unique qualities to transform the movement. Molly Lieber’s entrance was a display of her particular fearlessness – a long graceful belly-flop onto the ground, her hands raised behind her back to clap for attention. Other dancers later echoed the same dive, but Lieber owned it. When partnered with Mina Nishimura, Lieber was the grounded and balanced half while Nishimura’s power was more delicate and subtle, and in their shared time on stage, she looked more like a leaf in the breeze, her dark short hair swirling with each motion. Every move was crisp; the light twist of her wrists, with raised arms, led the cast in the subtle goodbye wave that closed the show.
Most of Greenberg’s selected movement patterns were light and jagged, full of angled elbows and torqued hips. Even the shifting set of the dancers’ heads on their necks, and their clapping or prayer-pressed hands added to the angularity, changing as the dancers subtly rotated around the stage. Omagbitse Omagbemi’s shoulders rolled to sweep her wing-like arms behind and over her with powerful flexibility.
Connor Voss, the lone male dancer in the group, was confidently at ease; he moved forward in exuberant high leaps and sharp parading steps…
Even when the performers were dancing together, they performed like soloists, though in continual communication. They rotated around the space, doing the same progression of movement, turned by several degrees. As the geography shifted, our eyes shifted too, each time moving focus from one spot, making other choices. Often, the hardest viewing choice was whether to focus full attention on just one dancer, or pull back and see all four; the figures and ground of the visual plane each commanded attention.”