GALLIM in ‘MOTHER’: A journey of whimsy and curious surrealism
Our take
In a world increasingly disconnected from physicality and organic experiences, Andrea Miller’s latest work, *MOTHER*, presented by GALLIM at The Joyce Theater, serves as a poignant reminder of the significance of touch, skin, and the visceral nature of existence. This evening-length performance, described as a "journey of thoughtful whimsy and curious surrealism," confronts what Miller terms the "Apocalypse of Matter." In an era where digital interactions often eclipse our tangible connections, *MOTHER* invites audiences to reflect on the essential elements that bind us to our humanity. This theme resonates not only within the dance community but also aligns with broader cultural conversations, as seen in other recent articles like Dance takes center stage in Lincoln Center’s ‘Summer for the City’ and Book review: Gavin Larsen and Gene Schiavone’s ‘Infinite Steps: Thirty-three Dancers and Their Lives in Ballet’.
Miller’s work is characterized by a unique aesthetic and emotional depth, a hallmark of GALLIM’s productions. The simplicity of the stage backdrop, featuring a striking black gash in an otherwise white setting, evokes a sense of void and longing, mirroring the themes of connection and disconnection that permeate the performance. The original score by Frédéric Despierre plays a crucial role in setting the emotional landscape, enhancing the experience of the dancers' movements as they navigate the delicate balance between whimsy and the weight of existential contemplation. This juxtaposition challenges the audience to engage not just with the visuals but also with their own perceptions of reality and existence, making for a deeply immersive experience.
The significance of *MOTHER* extends beyond the confines of the theater to touch on the collective human experience. In a time when self-worth and identity are often tied to external validation through social media and curated personas, Miller’s exploration of organic surrender encourages a return to an authentic self. This is particularly relevant in today’s society, where many struggle with body image and self-acceptance. The work acts as an antidote to the pervasive pressures of perfectionism, advocating for a celebration of imperfections and the inherent beauty in our physical forms. It aligns with the growing body positivity movement, which emphasizes embracing oneself as a form of empowerment. This connection draws parallels with the recent celebration of influential figures in the arts, such as in the article about actress Katie Holmes being honored at ABT’s 2026 Spring Gala, highlighting the impact of representation and authenticity in the arts.
As we reflect on *MOTHER*, it becomes clear that the performance is not merely a dance piece but a call to action for all of us. It urges viewers to reconnect with their bodies, to embrace the tactile and the real amidst a digital landscape that often alienates us from ourselves. This message resonates especially in light of the increasing mental health challenges stemming from disconnection and isolation. The question that arises is: how do we cultivate a culture that prioritizes authentic connection and nurtures our inner selves? As we move forward, it will be vital to engage with art forms that challenge our perceptions and inspire us to reclaim our humanity in all its forms. The journey of self-discovery through art, as exemplified by *MOTHER*, holds the potential to transform not only how we see ourselves but how we engage with the world around us.
The Joyce Theater, New York, NY.
November 8, 2025.
GALLIM, the interdisciplinary arts organization and contemporary dance company led by Andrea Miller, presented an evening-length work at The Joyce Theater in November 2025. In the company’s latest work, MOTHER, Miller “confronts what she calls the ‘Apocalypse of Matter’: our growing distance from touch, skin, and organic surrender.” MOTHER is a journey of thoughtful whimsy and curious surrealism, brought to life with an original score by Frédéric Despierre.
Miller’s work has a distinctive quality and aura to it, and this production carried those elements throughout. The stage had a simple backdrop with a striking black gash in its otherwise white continuity. It’s both a calm entity and one of power and possibility – anything could come through that gash and burst onto the stage. Spoiler alert: nothing does. But what did come onto the stage was indeed profound and magnetizing. The times I’ve seen GALLIM perform have left me with the same thoughts…that I’m not certain I understand what I was supposed to, and that it probably doesn’t matter.
The thing about dance is that it touches us in ways words cannot. We feel things we can’t describe. In this work, that idea kept coming back to me – the fact I felt something, and the (unfortunate, as a reviewer) fact that I struggled to find the words to convey those feelings. I felt a sense of birth, the struggle of it, and the mystery of it. I felt the tensions between the dancers as much as I felt the unity and flow between them. Movement-wise, the dancers employed both ballet lines and deeply intuitive noodling, the combination of which was pleasing to witness.
Costumes (Orly Anan) accentuated this sense, unitards or leotards with mesh, revealing form without nudity, and in various degrees as the lighting changed. At one point, a large creature joined the cast of slithering forms – an all-white being, dressed in fringe from head to toe. Imagine an overly excited snowman dressing up as a flapper for Halloween, but that also might be a ghost? In this tale, the snowman/flapper/ghost started off as friendly but became more complicated as the piece progressed. Not unlike life.
The humanity of MOTHER is that we are all creators of something. The dancers onstage did not embody traditional roles all the time (although sometimes), but did embody the sense that they were both a group and also individuals at different points. Driven by the trance-inducing score of Despierre, the work draws in the audience in ways that transcend language. Even though I would have enjoyed a bit more punctuation of sound or movement to break up some of the trance-like qualities, journeying to this world of esoteric creation was a pleasant trip.
By Emily Sarkissian of Dance Informa.
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