"Early on in the piece, before Nejman branched into text and satire, I noticed something interesting about her approach to movement. She made us see her and Miller's bodies as human first and foremost. Not abstractions. Not symbols. Not even tools for a choreographer, trained to deliver the assigned steps and shapes. I was struck by this: Here were women. Dancing. And, yes--despite our imagination of the imaginary "artist" sketching or painting them--these were women's bodies speaking for their lives as bodies. Real ones. And Nejman's insistence on giving us even a small glimpse of the human being within the choreographed body was...well, I can only call it beautiful."
