I spent the weekend in the theater, directing Ryder Cooley’s production of Xmalia.  For the past number of years, my theater has been the arena, dancing with horses.  It is good to get back inside for a bit.

The theater is a good place to look for light.  Literally, figuratively.  My focus with this production is to find the light within the dark themes of extinction and mourning.  To bring each of the performers into their individual, specific lightness of being.  And doing that in such a way that the shadows are also revealed, the spaces between, the interstial illuminations.  That is how the work can surprise us with little moments that shake the heart, as well as the big ravishing ones.

How are you finding the light?

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Again, for those of you who have not visited the RIDE site. These images are from the production called “Flight.”

Three years ago, I became obsessed with blending aerial dance with horses.  In the first production of RIDE, we had used low-flying swings. I wanted more.

Around the same time, my friend Tamara Weiss, the owner of Midnight Farm on Martha’s Vineyard said, “Well you know Polly flies, don’t you?”  I didn’t. She was talking about the magnificent Paola Styron, dancer and aerialist extraordinaire.

And so, with her help and that of Flying by Foy, we created a workshop performance. We have not done it again but are open to that possibility. (Are there any angels out there?)

The other performers are the beautiful dancers, Ingrid Schatz, DeAnna Pellecchia and Dillon Paul; riders Brandi Rivera and Nicole Muccio; and horses Capprichio and Sanne. The images at the end are of Sarah Hollis and Escorial. The music is by Robert Weinstein.

This is a big part of my Great Work; the thing that wakes me up at night and in the morning, fills my journals and makes my heart sing.

postscript:  This week in The Journal, I am writing another ragged little memoir, this one called The Beast.  You can receive it by subscribing here. (As always, you can unsubscribe at any time.)

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