The collaboration (T)here to (T)here between choreographer Liz Gerring with language-based artist Kay Rosen ran for just 45 minutes, and Gerring’s crisp movement took a good deal of attention from Rosen’s large letters (words come later) that float across the back wall, sometimes morph onto the floor then disappear. Nonetheless, the letters, words and the blank space (no wings and no boundaries) framed the space just right giving the dancers their well-deserved attention. Claire Westerby and Brandon Collwes begin and for a long time, they own the space, we get to see them move and sweat and we are riveted. More dancers join later. Gerring’s mix of angles and lines (hopscotch, handstand and jumping jacks too), are sometimes blurred when occasionally, while keeping time with ambient whirring sounds, duets, trios or other groupings come and go very fast. They jump and we hear them, their balances test gravity, and we hold our breath, or they slither on the floor (on one hip, from upstage to downstage), or do a little hip dance—we keep all eyes on them. Gerring enters for a solo and champions the movement; after all it’s her language. The dancers are Collwes, Joseph Giordano, Pierre Guilbault, Juia Jurgilewicz, Westby and Gerring. T)here to (T)here was presented as part of Lincoln Center’s “white light festival,” and co-presented with Baryshnikov Arts Center (November 10 -12, 2016).
I am a performer, historian, consultant and dance writer. I am a Empire State College's online program Center for Distance Learning. I am also a former faculty member at The Ailey School and the Alvin Ailey/Fordham University dance major program, Hunter College, Sarah Lawrence College (Guest), Kean University and The Joffrey Ballet School's Jazz and Contemporary Trainee Program. I write on dance for The Amsterdam News, Dance Magazine and various publications. Click below to read more about me at my home page - "About Me."