“Outside there is a hill. To the left, farther down the path, is a larger hill. We brought all we had and attached ourselves to each other. The hounds were silent and we broke every tether attached to the important limbs. We basked, as we usually do, and we ate, as we usually do. There is a certain kind of pleasure to knowing that what you are doing is something that only you can see, and the simultaneous knowledge of your place in the larger scheme of things. We met, as we always meet, on the fringes and we celebrated what we had left to celebrate.”
I wish I was a poet, could wrote in fine hand
I’d write my love a letter
One she’d long understand
I’d send it by the water
Where the islands overflow
And I’d think of pretty Saro
Wherever I’d go
Hernandez’s choreography is swift and strong. In a riveting duet between Patrick Kilbane and Justin Reiter, each of the dancers’ limbs seems supercharged. Reiter carves out his own space on the stage, his presence focused and commanding, like he’s consumed with dance in a raw, emotional way.
Rachel Gallaher, City Arts Magazine
The work reached a satisfying resolution as Peil calmly took over the space and delivered a slinky yet disjointed solo. What a treat to see the dancers tackle a dramatic but cerebral work like SARO.
Imana gunawan, Seattle Dances