All four performers make the dramatic points with ease and subtlety and dance wonderfully. Duval is especially good at small, disappointed reactions. The long, limber Gutgsell thrusting one leg high into the air behind him and tilting forward turns something like an arabesque penché into a vision of daring equilibrium.

Tomorrow’s Legs begins while the audience is still arriving. The dancers toss oranges from one to another until they’ve accumulated a wheelbarrow full. Duval craves an orange, and each time he’s about to get hold of one, it’s snatched away. Oranges get peeled and squished and rolled. Maybe they’re a symbol of memories—accumulating, being uncovered, devoured, sought for. It’s not entirely clear. But certainly the work’s main theme—however twistily it comes through—is recollection and the imprint certain moments leave on the soul. After telling a disturbing tale of a family dog coming home with a hole in his leg, perhaps because he got into a neighbor’s chicken coop and the neighbor revenged himself, Tucker says that she’s learned that that’s not what happened, and that the dog was just a short-term visitor to her home. Still, that doesn’t prevent her from lying supine and shuddering for a while.

Movement shapes and punctuates the stories. When Gutgsell speaks of a family friend, a man who took him fishing when he was a teenager, and then kissed him, his colleagues cluster around and blindfold him. Tucker keeps covering his mouth until he tells her to stop.

Immaculate perceptions: Hutchings, Miracle, Peterson, and Martel in Peterson’s "Forever."
Elle Chyun
Immaculate perceptions: Hutchings, Miracle, Peterson, and Martel in Peterson’s "Forever."

Details

Laura Peterson Choreography
Dance New Amsterdam
280 Broadway (entrance on Chambers Street)
212-279-4200
February 18 through 22

Tiffany Mills Company
Danspace Project at Saint Markís Church
February 12 through 14

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That kind of camaraderie shapes all the goings-on. As does a slippage between “performance” and rehearsal-style comments, like Tucker remarking, “I don’t understand what it [a lasgana recipe] has to do with anything.” At one point, the four line up on chairs, as if for a Q&A with the audience, and earnestly answer questions that were never posed.

Naoko Nagata’s costumes are understated and casual, as is Chris Hudac’s lighting. The musical mixture (Red Hot Chili Peppers, Shocking Blue, L.E.D., Night Ark, and David Bowie) is neither insistent nor overbearing in relation to the dancing and the speaking. The focus is on these four very interesting people and the many little events that stud their coming together.

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