Behind the Curtain:An interview with Lead Artist Lorianne Robertson about “The Space in Between.”

This piece navigates liminal space — the place between decision and consequence. What is it like to live in that tension as a dancer?

The qualities of depicting liminal space, in texture and gravity, are the most challenging aspects of this work. Each of the three locations, graytown (hell), the valley up the mountain and Heaven, have very specific textures to portray (wet, prickly, weighty). It is a fun challenge to invision moving in these imaginative places and have different outcomes each time I dance it! It keeps us on our toes!

How does the character you portray reflect a soul wrestling with truth, memory, or grace?

The narrator gets an overarching view of all the stories going up the mountain. I would say she wrestles with the truths of God’s upside down kingdom, specifically in aspects of profound grace that perhaps our minds will only fully comprehend in heaven.

What role does stillness or silence play in this work, and how does it shape your performance?

The narrator had to be a good listener to allow the story to be “heard”/seen by the audience. It is a mix of dialog to aid, but then giving them space to be heard.

If there’s one idea from The Space in Between you hope sticks with the audience, what is it?

I’m a huge fan of C. S. Lewis and his book the Great Divorce (which the Space In Between is based on). He presents this story is an “An imaginative proposal”. I hope the audience is able to see themselves in one of these characters and be inspired by the fact that, as Lewis stated, “We are made for infinite happiness.”

Learn more about The Space in Between and get tickets at ballet 58.org.