Thanks, Amy, for posting that performance of the 'Dance in a Bed.'
Elizabeth Zimmer has written a very fine piece http://www.dancemaga...n_memoriam/4597
in the latest Dancemagazine that told me things I'd never heard before. And somethings I knew, but she captures them well: e.g., Born in Brooklyn to Russian immigrants, Charlip attended Cooper Union, but soon stopped painting and began taking dance classes. “I thought dancers were free spirits,” he told Jennifer Dunning of The New York Times in a 1977 interview. “The one way I could be a free spirit was to study dance. Little did I know how tyrannical and puritanical they were.”
THat's absolutely typical of his wit, which is to say, what he said was
He was a polymath, he wasn't just a modern dancer. His imagination burst out in many ways. He was very generous towards fellow-spirits. Nobody else has mentioned that he discovered the ballet choreographer Julia Adam, who'd done a little piece for a SanFrancisco Ballet summer workshop that was brilliant and fresh and hilarious, for a show that was just supposed to give off-duty something to kill a long summer. Remy made us all go see it. Her sensibility is a lot like his.
I took him once to see The Nutcracker. We met on the steps of the Opera House, and he had a little baggie with some little dime-store grey-ish candies in them; They looked like gum drops or orange slices, but kinda lavender. "What's that?" "These are sugar plums."
Who knew? REMY knew. He knew all kinds of things like that. They were wonderful.