In Water Will (in Melody), the stage is another world—one so dark, cavernous, and disorienting we can only let go of symbolism and theater as we know it. This dystopian fantasy of text and movement encourages the tension between known and unknown.
How can a theater—its illusions, its tropes, its metaphors—transform how we think and perceive? What can choreography do to our ideas about the figures we see onstage? About how race and gender play out across a body?