Three more dancers enter--Kevin Ho, Emily Pope-Blackman, and Petra van Noort, using gestural material and literally climbing on the back wall. There is a child like quality to a playful duet for the men, while Ms. van Noort speaks about them being 'monsters' and Ms. Pope-Blackman eats blueberries. "I am not trying to touch you," intones a dancer while a feisty tango by a couple lying down ensues. The dialogue is sometimes comic, sometimes like a rehearsal process typical of contact improv. Mr. Duval reminds Ms. van Noort, bullishly, that "he is the nucleus and she is just a teeny- tiny electron."

The talk turns to "let's try something anatomical and no dramatic falls, they don't work, try that WITHOUT arms and see how it works for you!" Continuing to touch, manipulate and urge each other into movement phrases becomes almost sensual at times, with a head on a hip, and grand flying leaps. All of the relationships become co- dependent, and at times the dialogue is more interesting than the movement.

Ms. Mills is clearly interested in what happens when people stop communicating and the frustration that can arise. Her movement changes to slapping and frantically energetic rubbing, creating actual friction between the dancers.

While this piece feels fragmented, upon further reflection certain phrases stick: "Why is it when someone says you can't, you want to do it even more?" "Because you hate your parents," is the answer. Towards the end there is talk of innocence, flying, and the lights of a ferris wheel. As the stage turns half deep-blue and half deep- pink some white feathers fall from a bin being rocked side to side, joining the already crumpled paper airplanes, producing a disheveled scene.....of what I am not sure.
EYE ON THE ARTS, NY -- Deborah Wingert