The piece begins with a lone Echo on stage, danced by Mac Twining, back to the audience. As Twining turns downstage, the full regalia of his costume (designed by Andrew Jordan) is revealed; a neon orange, corkscrew phallocrypt and the breasts of a woman.
Unexpected yet also delightful, the program notes reveal the thoughtful reasoning behind the adornments. Other nymphs (sans breasts) appear later but they are unaccepting of Echo’s ambiguity. Twining, a lithe, generous dancer, embodies the role through both physical movements and emotional connection. We sympathize and root for Echo.
Narcissus, on the other hand, we know is doomed and await his fate. Danced by Taylor Stanley, a principal with New York City Ballet, they carry the role with a steely, fixed gaze throughout.
What I am most struck by are the delicate, gentle moments between lovers. In this instance, it is Narcissus dancing with himself, his counterpart wonderfully portrayed by dancer Cemiyon Barber. A repeated configuration in this piece and previous, is a side-by-side reclined position. Barber and Stanley assume the pose, looking like marble statues caught in a private romance, both architectural and sensual.
Williams consistently chooses nice shapes. Statuesque, meditative, almost Art Deco feeling, the shapes look good on everyone. Unfortunately, the pieces lacked a dependable story line, often getting drowned out by long segments of choppy poses.