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sorrowful as Nash reads a rambling tale of religious conversion from her sister.
In the third piece, Nash, blindfolded, is alternately led and abandoned, attracted and repelled, pushed then pulled, rejected then nurtured by Reddick. The piece illustrates — without narrative — the way of a love affair.
The mood lightens again as the dancers don sunglasses, berets, ; leather jackets, furs, slouch ,hats, irridescent socks and golden slippers for a short number that’s pure fun, shades of Broadway chic and Chorus Line, a G-rated story of the sexual revolution.
When the lights go up again, Nash is back at the mailbox, hesitancy evident at every movement as she struggles with herself before
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