Michael Getman’s Face to face […] bombarded the audience with familiar gestures and other signifiers, triggering association chains and disrupting them only moments later. This was achieved by juxtaposing/conflating concepts, such as fascism (Hitler Gruß) and docility (common salutes), homosexuality and bestiality (moaning as one dancer rides the other as a cowboy might a horse). These embodied concepts were supplemented with a recording of a spoken text with stark religious references, the male voice alluding to the denial of god, the image of the innocent child, the desperation of beggars, and so on. The movement vocabulary remained understated and quotidian, a welcome counterpoint, a chance to relax, in an otherwise challenging work.

– LUKE AARON FORBES

Excerpt of an article published by Dance Europe, Issue 191, January 2015. Purchase the entire issue here: http://www.danceeurope.net/store/issue-191