Retooling Tradition

Horses, Brides, and a Goddess's Offspring

The sweetest, strangest part involves some small plastic horses. Each woman sets one out, gently kneels beside it, and adopts its pose. While Garfield and Townsend nuzzle, Lynch-John positions a horse and a foal to touch noses. Garfield pushes her fingers through Townsend's long, dropped-over hair as if they were hooves moving in long grass. The choice of songs reflects the many hilarious and touching activities and moods: "Go to Sleep, Little Baby," "Take Me Back to Tulsa," "He Loves Me," "Long Gone," a lot of country waltzes. By the end, they've tossed their bridal drag, but they're not outta here. Even though the corral gate's open.

Painterly sorrow: Okamoto, Orihara, and Capucilli in Buglisi's Requiem
Painterly sorrow: Okamoto, Orihara, and Capucilli in Buglisi's Requiem

Garfield teams up with Lawrence Goldhuber for Good Girl Daddy—Part 1, to original music by Phillip Johnston (taped keyboards, live sax). As the title indicates, it's not always easy to know who's the parent and who's the child. Because of Goldhuber's size and girth, Garfield looks like a mosquito beside him; she throws herself at him, and he offhandedly tosses her away. Still, when he's fallen and she dives onto him, he hoots his discomfort. Offering such temporary distractions as a bullfight tango, they dance at an aerobic pace through a vaudeville act that's theirs for life.

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