Rudner did a solo dedicated to the late Julia Thorne, a beloved patron of Summer Stages. To the Beatles’ “Julia,” she strolled, turned, looked, flickered through a medley of moods, mostly happy. Doing what could have been merely natural, she was riveting as only she can be.
With this moving tribute, the dance began to wind down. They were nearly four hours into the piece, and the “Circles” returned. Some of the dancers looked tired but thoroughly loosened up. Some looked as if they were pushing themselves. Some looked hungry for more.
In fact there was more, and more — in small groups, they revisited earlier material. To an impossibly fast recording of “Tico Tico” they clustered upstage with the wiggles, as each dancer came out for a solo bit. Then there were more “Circles.” Finally, Rudner stepped in front of the dancing crowd and announced that this was the end of the program . . . but she and the dancers were now going to rehearse. The audience began an ovation. In all those five-plus hours on two different days, there hadn’t been a thing that looked like any known dance technique. But every minute looked like dancing.
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Dance
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, Entertainment, The Beatles, Dance, Performing Arts, Institute of Contemporary Art, David Parker, Dance Reviews, Institute for Contemporary Art, Megan Schenk, Concord Academy, Less 
