All posts by Audrey Moyce

Paul Swan is Dead & Gone

A composite of quite ordinary gestures that combine to make something novel, much in the way the entire play uses old poses in service of a show much more than an aesthetic or expressionistic dance.

In Response to Celine’s MAGNUM OPUS

I will not say “I’ve grown up” since then, because truly I see this acceptance of paid monotony as a bit of my idealism seeping out. A necessary bloodletting, at long last, giving up my mulishness in favor of a little ability to tame the storm that was my inner mind each day and each night.

Mia Barron on THE WHITE ALBUM

I’ve found it terrifying at times, and surprised about how different it has felt for me. But it’s brought a deeper sort of pleasure, not least of which is that I am so proud of what we’re doing.

Singlet’s Whole World: Audrey Moyce Responds

Though their insular world went weird, and quickly, I was there, because they were there. Davis and Markey have the attunement to one another that only comes from a sustained exposure to the other’s way of standing, talking, moving, being-in-the-world.

SEAGULLMACHINE: Less Hiccup, More Smash?

When I hear that two pieces have been “smashed together,” I make certain assumptions. If I read “conceived by” or “created by the ensemble,” I expect a piece so thoroughly picked apart and put back together, it barely recognizes the original source material. At the