The experience for me of dancing Time Out of Mind had a neo-classical feel: the combination of classically-trained dancers moving beyond the current vocabulary of classical dance . . . into more “contemporary” or “modern” (at the time) elaborations. I believe the work to be a kind of signature piece for the company at that time. Our repertoire was very broad in what it demanded of us dancers. Hence, we all came under the influence of flexibility and diversity of forms with the many established choreographers the wealthy and late Rebekah Harkness had hired.