By Merilyn Jackson, For The Inquirer Einstein described quantum particles as "spooky action at a distance," and the behavior of particles and waves and their relationship forever perplexed him. When dancer-choreographer Amanda Miller and filmmaker-videographer Tobin Rothlein wanted to explore the same scientific phenomenon through dance, theater technology, and romantic relationships, they had a universe of dots to connect. Their company, Miro Dance Theatre, premiered their utterly unified Spooky Action last month at Indiana University of Pennsylvania (which commissioned it) and performed it Saturday night at the Kimmel Center's Innovation Studio. This spare, elegant, and emotive dance had multiple elements to harmonize, not least of which was the magnificent minimalist set designed by the M Lab - Rothlein's tech team. Dancers Dana Dlugosz, Joy Havens, Scott Lowe, and Paul Struck coiled through openings between six rectangular screens - roughly eight feet wide and 15 feet tall - suspended from a steel demilune. Lighting designer James Clotfelter calculated their sizes to create a "forced perspective," which made them appear to match exactly. READ FULL STORY
By Merilyn Jackson, For The Inquirer Einstein described quantum particles as "spooky action at a distance," and the behavior of particles and waves and their relationship forever perplexed him. When dancer-choreographer Amanda Miller and filmmaker-videographer Tobin Rothlein wanted to explore the same scientific phenomenon through dance, theater technology, and romantic relationships, they had a universe of dots to connect. Their company, Miro Dance Theatre, premiered their utterly unified Spooky Action last month at Indiana University of Pennsylvania (which commissioned it) and performed it Saturday night at the Kimmel Center's Innovation Studio. This spare, elegant, and emotive dance had multiple elements to harmonize, not least of which was the magnificent minimalist set designed by the M Lab - Rothlein's tech team. Dancers Dana Dlugosz, Joy Havens, Scott Lowe, and Paul Struck coiled through openings between six rectangular screens - roughly eight feet wide and 15 feet tall - suspended from a steel demilune. Lighting designer James Clotfelter calculated their sizes to create a "forced perspective," which made them appear to match exactly. READ FULL STORY