It is with this angle that the documentary approaches the effects of the AIDS virus on the company, the loss felt by its members, and their turn to dance as the outlet to express this. On the personal level, the film aptly reveals the contradiction between being in a field that is predicated upon the constant exposure of the most private parts of one's self, exposure to the most pointed criticism, and the realities of an intensely competitive and limited job market. During the documentary we see Taylor fire one of his dancers, expressing his reasons in a somewhat callous manner. In the March 14 arts section of the New York Times the fired dancer, Jill Echo, explains that while Taylor offered reasons behind her firing in the documentary, he never provided her with any explanation. One can be fired on the spot for any reason.
Dancers take what they can get because they are always aware that they are expendable.
I realize this will not change, but it doesn't mean we can't say what needs to be said and must take it all in silence. But while Taylor may wish to eschew this role, the reality is that a dance company is a business. Even for the Taylor Company, one of the most established modern dance troupes in the contemporary scene, funding is limited and costs are high. A particularly revealing segment of the film revolves around the company's two-week season at City Center in New York City. Taylor makes the decision to use live music during the performance.