I've always assumed that the opening of The Moor's Pavane, with its counterpoint of dimmed lighting and El Greco-like costumes (both in color and design) gleaming from the gloom, was a deliberate attempt on Limon's part to transport the viewer immediately to a different time and place. Since he used no set, the lighting effect at the beginning accomplished what a set normally does -- setting the mood. (I happen to think that an actual set would ruin The Moor's Pavane.)
As for the Elusive Muse, I locked eyes with her for a few seconds and it was like looking into the face of a sphinx -- mysterious and, ultimately, unknowable.
Chicago Dancing FestivalAugust 18-20, 2008
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