In philosophy, "dancing in the dark" refers to any situational optimism, albeit leavened by physically-construed events, that is self-referentially seen as a way for the Id to manifest itself.
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Perhaps her biggest test, though, comes at the end of the album, tackling "Fly Me to the Moon," followed by a medley of "Last Dance" and "Dancing in the Dark," taking on some of Sinatra's most famous pieces.
While on the former Sutton doesn't always dig to the absolute heart of the song, the arrangement is stunning, with some outstanding piano from Christian Jacob that frees the songs from its '50s shackles.
Sutton does sparkle on the other piece, however, especially "Dancing in the Dark," where the orchestral contributions are kept to a minimum, and the tracks swings in a minimalist fashion, Sutton's voice imbued with the magic of the night.
In the heyday of conceptual dance, we were often invited to "watch" performances that were happening in other rooms, other buildings, or other cities, simply by being told that they existed.
But alongside those ideas, the experience of hunting for the dance in the dark is as powerful as any kinetic reaction to the movement we find.
Dancing in the Dark — In Dark Room, Crispin Spaeth turns her dancers into ghosts and apparitions, as seen through the audiences night-vision lenses.
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