http://www.nytimes.com/2014/12/08/arts/dance/andrea-kleines-take-on-yvonne-rainer-at-chocolate-factory.html 2014-12-07 19:32:33 Andrea Kleine’s Take on Yvonne Rainer at Chocolate Factory Andrea Kleine adds her own embellishments while staging, verbatim, a years-old interview with Yvonne Rainer, a maker of films and dance. === Andrea Kleine Ms. Kleine’s return comes in the form of a wry, poignant and lengthily titled new work, which had its premiere on Wednesday at the Chocolate Factory Theater in Queens: “Screening Room, or The Return of Andrea Kleine (As Revealed Through a Re-Enactment of a 1977 Television Program About a ‘Long and Baffling’ Film by Yvonne Rainer.).” The work itself is not unlike the title, a realm of alternate routes and nested stories, running its own kind of elaborate course. And though it’s largely autobiographical, it feels bigger: the story of anyone who has chosen one path and switched to another, anyone nomadic, anyone to whom the question “What is she up to these days?” has been asked. In other words, most of us. “Screening Room” begins with the titular re-enactment — a late-night talk show Instead of clips from the film, we get live performances, beginning with Anya Liftig and the estimable Vicky Shick: Ms. Liftig frantically packing a suitcase, Ms. Shick exquisitely measuring space with her limbs. Throughout the work Ms. Kleine interweaves physical tasks with her own evocative text and loosely recounted passages from Catherine Lacey’s novel “Nobody Is Ever Missing.” At a certain point the show restarts, but now the performers are playing themselves, and Mr. Previte is introducing a “long and baffling piece by Andrea Kleine.” Ms. Kleine works her way through a monologue about why she stopped dancing — putting Mr. Previte and Mr. Langland momentarily to sleep with reflections on “the futility of art in general” — and into a bright white spotlight, where, finally, she dances. In this tentative but sly sidestepping routine, performed in profile, every movement seems essential, which isn’t always the case in “Screening Room.” A chaotic, climactic scene for the whole cast, to Mr. Previte’s roiling score, recalls the violent ocean mentioned in the text. But the text is richer. Perhaps Ms. Kleine intends for us to ask: Why dance?