Leigh: Yes. Like I’m rebelling against something. I do not understand it. Photography by Emma Pratte. I want to hear their feet, and I want to hear their breath and the exhale and the inhale and the trying—the trying to maintain a connection because there’s no counts. The tree [you see] is about the trunk of a tree and how it carries so much weight. Sonya: It depends. Where do you even start with something like that?I was gifted with so much preproduction. Was that ever confusing or did it ever seem like a mixed message? This ensemble can carry the story. It seems like the 1920s is one of those time periods that suffers a lot from male gaze syndrome. So, since this is Encores Off-Center, let’s start off by talking about the concept of concert staging. At fifteen [years old], at nine at night to six in the morning, and no drugs, no nothing, just dancing. Since then, she’s fulfilled that promise in an impressive array of projects, and this summer she made her Broadway choreographic debut with the extravagant Moulin Rouge! I feel like I’ve been in this space with her for a long time because it’s so thick; it’s so many emotions in a day. “It has a large sense of dynamics to it,” she says. They’re all inside their bodies in the most beautiful way. I have to feel it all. Directors don’t have that. It seems like directing an audience must be a big part of putting a show together. When you start with a piece are you someone who hears it first or sees it first? Some people like to lead by fear and some people lead by kindness and some people lead by being the class clown. I sort of snarkily have said a bunch of times in the press, and will say it again now, but last year at the Tonys people would ask me all the time, “What are you wearing?” “What are you wearing?” “What are you wearing,” and I’d be like, “Did you ask Michael Mayer what he’s wearing? while sitting in the audience… [She laughs.] There’s a heat that builds to it, which I’m very attracted to in terms of physical challenges. I can do a lot of my work without any music. I love to form pieces, and then in the midst break out into a unison section. I’m really sad that what goes up must come down, so I just try to play with the idea of how high human forms can go by throwing.”, “You’ll Still Call Me By Name,” New York Live Arts, “Hard stops. Look out for your first newsletter in your inbox soon! It goes along with a reflexive apology that women feel like they must do; I think they don’t even know that it’s happening. For example, the way the original production worked is that everyone sang about themselves in the third person and in this version that doesn’t happen, and already that changes and personalizes the way the story is being told. And I think that relates to everything about how you dress, how you talk, how you look, what you wear. She made her New York theatrical debut with Kung Fu, a play by David Henry Hwang, at Off-Broadway’s Signature Theatre. I just have to be myself and act as naturally as I can, and if I say something that I need to apologize for then I will.
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