Several of the digital figures have many more limbs than Ms. Vishneva does, sort of like the goddess Kali, so that when they match the motion of her arms, the effect is multiplied. That’s the drift of the projections (visual art by Tobias Gremmler, avatar technology by the production company Fuse): effect after effect, the same operations recurring. That sounds a bit like one of Martha Graham’s psychological dramas, but here there is no psychological insight and almost no drama. Mr. Clug makes Ms. Vishneva swirl so that her avatars might, and puts her on the floor often so she’s out of the way. This impression of secondary service is reinforced in the second act, when digital technology is temporarily superseded by Bart Hess’s chic costumes, and Ms. Vishneva moves so that her feathers will.

Source: New York Times December 16, 2018 20:59 UTC