Gianni Di Marco’s program note for Sanitas warned that environmental pollution could lead to alienation and anomie, through fear of contamination or something. The dance may or may not have alluded to this theory. When the lights came up, we saw four women in gauzy grayish gowns stretching upstage toward four white apparitions — possibly cloaks, possibly shrouds — that were blowing in a gentle wind on hangers high above them. We didn’t learn anything more about these mysterious objects or their significance. Perhaps Di Marco plans to add to the dance.
The women (Ridgeway, Warren-Whitman, Ruth Bronwen, and Nina Brindamour) engaged in struggle and separation, to Zoë Keating’s minimalist layers of cello music. I thought the dancers gave this work more intensity and high energy than anything else on the long program. They were fully invested in the scrambling and desperation and yearning embedded in the movement. The music seemed to get louder and more insistent, and the women gradually returned to gaze at the mysterious hangings. They’d never touched them. Maybe the things were clouds all along.
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