Sum Thoughts

SURIMU FUKUSHI OVER MUTUAL COMFORT

“I would say that this piece is very cool in a lot of ways. It can be very satisfying but challenging to dance Edward Clug’s choreographic vocabulary.

His work is clear, light and smooth and needs a lot of attention to become like a sharp knife cutting through butter. It feels like a mature game between two men and two women that creates a tension and sensuality while also being very playful. Milko Lazar’s uneven rhythm of music helps to build and keep the tension throughout the piece. I also love
Edward’s sense of humor sprinkled throughout the piece; at times you are not sure if it’s meant to be funny or not, because the dancers play it cool.”

TESS VOELKER OVER SHORT CUT

“There’s a very specific respect a dancer must approach Hans van Manen’s work with. In rehearsals, Nancy (Euverink) often refers to his work as ‘poetry’ which I think appropriately defines this specific approach.

Much like in his choreography, poetry holds rich descriptions to emphasize subtle subtext. There’s so much more involved in a piece of literature than the words themselves; in Short Cut, the beautiful legs and lifts are just the words. It’s the weight and emotion driving this work that give those words description, and the dancer’s relationships give it meaning. In the end, the poem is written and I love how as dancers we must learn to not just read it, but be a part of it.”

BOSTON GALLACHER OVER A HEFTY FLOOD

“The creation began with a mysterious email from Marina Mascarell with a variety of odd questions. First of many was: which animal/imaginable persona would be your alter ego?

I remember finding it so interesting watching all of us approach the questionnaire in such different ways. Some would spend hours discussing how to perfectly describe themselves and others instinctively knew. I was a tree. Later in the process, we would find our ideas, feelings and dreams creeping into the piece. It’s very personal and I’m sure Marina knows a lot of our secrets.

For me, this piece explores connection; to each other, to ourselves, to the floor. During the creation we spent a lot of time underneath the vinyl floors, and it’s quite isolated as they block light and most sound. There are times I have felt lost in the strange landscape of wrinkles and monsters. However, the floors create tension with the people on the other side, and it’s interesting to play with that sensation of being close and not physically touching. You really have to put your trust in the darkness and let it destroy what it will.”

AMANDA MORTIMORE OVER SUBTLE DUST

“Since joining NDT 2 last season, I have enjoyed learning and working on repertoire from Sol León and Paul Lightfoot. It has been four years since they last created on NDT 2 with Some other Time.

Although we perform their work consistently, it has been an enlightening experience for myself and my colleagues to be able to work with them intimately during this new creation process. They have chosen to create to Johann Sebastian Bach and have expressed to us how important it is to stay true to the integrity of the music. There is a delicate balance between following the melody or strategically pulling away from it. Not one detail is unaccounted for and every movement should be executed with the highest quality. Each one of us carry the responsibility for becoming a specific character unique to us as individuals in the piece. My part is involved in two duets and it is a rewarding challenge to go through a distinct journey from beginning to end. Beyond choreographing this piece in particular, Paul and Sol are giving us valuable information that we can take with us throughout the rest of our careers.”