FRAGMENTS

“Playing on our familiarity with some well-known arias from The Marriage of Figaro and The Magic Flute. The dancers lip-synch in grand operatic style, scratch their itches like puppies, and adjust their costumes. Here, ballet technique is about freedom, not power, and it seems that Kelly Ann Barton and Hannah Lagerway are set to burble their way around the stage for the duration of the work, until the score shifts to Mozart’s Ave Verum. Lagerway strips off her flirty skirt and proceeds to turn herself inside out and upside down in an extended adagio that’s all bent joints, like a colt learning to stand. Probably the most effective part of the work has the least amount of movement, as Lagerway pauses for several breaths, upside down and all splayed out.”

Sandra Kurtz from The Seattle Weekly