In 1987, feminist musicologist Susan McClary likened Beethoven’s music, and in particular his 9th Symphony, to an act of rape. This solo dance proposes a counter-argument. Bridge navigates powerful and raw expressions of female sexuality that find support within the driving rhythms and delicate detail of the music: the second movement of Beethoven’s final piano sonata, Opus 111. Moments of shapeshifting and androgyny materialize through an unwavering commitment to presence.