Brian Rogers and Madeline Best's Selective Memory at the Chocolate Factoryhttp://www.thirteen.org/sundayarts/blog/performance/selective-memory-at-the-chocolate-factory/872/
More than halfway through the 50 minute work—more performance than choreography—Best begins to move more broadly, and (relatively) faster. Her live body moves one way as her projected head moves another. The fluid lighting (by Chloe Z. Brown) works with the scrim to sculpt the space around Best, and Rogers’ stealthy score ebbs and flows. Then comes the well-earned payoff—full-body projections of Best appear behind her real self, at first against white. Then a lush green garden comes into focus, and the effect is nearly intoxicating after the hermetic, sere stuff we’d seen up til then. Best recedes up the garden path, the camera tilts up to the sky, and the tableau shatters into a dissolve. This is by no means an easy piece to watch, yet this epiphany of pleasure felt worth it.