The choreography was delicate, quiet and gestural, punctuated by some traditional partnering. During a uniquely intriguing scene, one of the female dancers rolled across the stage in a chair. Her posture and face were decidedly un-prim, almost as if she were on the prowl.
The dance itself—well performed by Caitlin Taylor, Elise Ritzel, Eloise DeLuca, Gregory Dolbashian and Maleek Washington—disturbed me in the way it depicted relationships between men and women. I found myself quite often checking out. But it’s possible that Carreras’ intent was to show us exactly what it was that turned me off.That’s a wild stab.