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Finally, she brought out a chair. Real all of a sudden, but not quite, she donned sunglasses, drank from several plastic water bottles and tossed them away, and unfolded a newspaper. As she turned the pages, words popped out and bounced away across watery scenes of rivers and streams. The words were water words, and they became more ominous — LAKE, RIVER, ARROYO, FLOOD, TSUNAMI, DESERT. The scenes were of drowned deltas and sand dunes. Finally there was no water, only desert. The woman slumped in her chair, and the stage lights went out, leaving us with projected watery haiku for consolation.

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ARTICLES BY MARCIA B. SIEGEL
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  •   MERCE CUNNINGHAM'S LONG GOODBYE  |  December 14, 2011
    Expiring dance companies either implode from suppressed internal troubles, or they just peter out quietly.  
  •   'NEW' DANCE — THEN AND NOW — GETS A FULL AIRING ON BOSTON'S STAGES, AND ON FILM  |  December 06, 2011
    November brought a dense cluster of dance events to galvanize our thinking about how dancers have re-imagined their craft and challenged their audiences over the past few decades.
  •   BOSTON BALLET BRINGS BACK JOHN CRANKO'S ROMEO AND JULIET  |  November 08, 2011
    Shakespeare's Romeo and Juliet has probably inspired as many ballet translations as The Rite of Spring .
  •   GALLIM DANCE'S BLUSH  |  October 25, 2011
    You don't want to take the title of Gallim Dance's Blush too seriously — at least not if you're expecting embarrassment, shame, modesty, confusion, those textbook signifiers of someone who'd like to creep away and hide.
  •   A BEATLE GETS A BALLET  |  September 27, 2011
    The synopsis for the new Peter Martins/Paul McCartney ballet Ocean's Kingdom reads like a pastiche of 19th and early-20th-century plots.

 See all articles by: MARCIA B. SIEGEL

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