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be separate units off in their own little worlds, improvising their hearts out. There’s no hint of improvisation in “Box 48”; the two years’ of effort that went into the piece are evident. Every flowing movement, every gliding step is exact.
Nash borrows, and then makes what’s borrowed her own.
In the first segment, she incorporates classical ballet movements that show off dancer Laura Crowne’s control and grace. Then, in the second segment, she shifts to an Oriental mode as Nan Reddick and Shew Waggener evoke flashes of Japanese Kabuki.
Always the dancers move in synchronization; often they are mirror images of each other, down to small hand gestures and turns of the head.
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