Doug Elkins Returns With “Mo(or)town/Redux”
The choreographer returns with a program of new and refashioned works at the Baryshnikov Arts Center.
All posts by Alyssa Alpine
“Mies Julie” at St. Ann’s Warehouse
A fierce South African reconception of Strindberg’s play falters under the weight of the racial, economic, and social issues
“Blood Play” at The Bushwick Starr
In their latest, The Debate Society produce a quietly compelling drama zooming in on middle-class anxieties and insecurities
Michael Friedman on “Paris Commune” at BAM
The composer talks about music, politics, and collaboration through the lens of The Civilians’ newest show
Nora Chipaumire’s “Miriam” at BAM
The show dwells in a world of the barely seen and the partially heard, but instead of inspiring activism, it spurs apathy
The Culturebot Guide to “Einstein On The Beach”
CULTUREBOT infiltrates EINSTEIN to retrieve an insider’s guide on how best to enjoy this legendary, but daunting, work.
Pavel Zuštiak on “The Painted Bird” Trilogy
A conversation with the choreographer and Guggenheim fellow about how “The Painted Bird Trilogy” took shape (fittingly, in a garden with screeching peacocks in the background).
The Power of Absence
An offstage presence provides the structure in both Gideon Obarzanek’s “Faker” and “CITY”, by the BLOOM! Dance Collective.
Michael Clark Company blasts thru The Whitney Biennial
Michael Clark Company’s WHO’S ZOO?, part of the Whitney Biennial 2012, is Cunningham-lite via 1980s punk.
“Ephemeral Evidence” Profiles: The A.O. Movement Collective
Alyssa Alpine explores the work of Sarah Rosner/AO Movement Collective, the artists she’s curating during Culturebot’s upcoming Exit Art residency
Batsheva Dance Company’s “Hora” is an Hour Well Spent
In an era of rehashing familiar variations on ballet vs. classic modern dance vs. post-modern vocabularies, Batsheva represents the possibility of a different understanding of dance
“Devotion Study #1–The American Dancer”
“Sarah Michelson’s Devotion Study #1–The American Dancer” at the Whitney Biennial 2012 retreads familiar territory with little resolution.