Elizabeth told us a few times that if we ever sold our house in the city she would buy it. The thought was unthinkable, but twenty years ago it came to be.
She recently contacted us to say that two letters, addressed to us at her address, had come from a Paul Taylor. She left them between the two front doors, and we eventually picked them up. We learned Paul had moved back to the area. He included a photo of his artwork on an invitation to a dance performance he had commissioned at MUCCC.
We left the house for the eight o’clock performance just minutes after watching Spain defeat Uruguay. Our names weren’t at the door, but we went in anyway. The house was full, and we took two seats down front, close enough for one of the dancers to brush my leg. We looked around for Paul, but we could only vaguely remember what he looked like forty-five years ago when his wife, Jeanne, danced behind the screen at Personal Effects’ multimedia show at the Community Playhouse.
There were nine short pieces. Some were cringe, but most were startlingly good. A Taiko drum and woodblock piece performed in coveralls. A dancer in a backlit, scrim-covered cage performing to a spoken-word piece. Paul Taylor’s piece, performed by Claire Spenard to Jonah Kreitner’s atmospheric “Spiral Jetty,” was our favorite. Spenard opened under a blanket and, with movement that was at once physical and graceful, shed it, commanding the space in a dreamlike dance before rolling herself back up inside.
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