A pair of critics from the Guardian have started a conversation about whether and when it’s appropriate to talk about looks, good or bad.
Inquiring minds want to know: Who thought this was a good idea?
In Project 5 at the Joyce, Israeli choreographer Ohad Naharin demonstrates a choreographic style that produces a compelling movement language at the same time the work compositionally disappoints.
It’s Monday early afternoon, and I’m finally enjoying a lull in the hectic pace of meetings and show-going that’s been my life since I flew into Portland from New York on Friday for the first weekend of shows at the 2010 Time-Based Art Festival. I’m
Contributor Jeremy M. Barker has five questions for Michael Rioux, a Seattle-based dancer and choreographer performing as part of Ten Tiny Dances at the 2010 TBA Festival in Portland, Oregon.
Nora Chipaumire and Souleymane Badolo’s new dance work Art/Family/Our Lives: I Ka Nye, at DNA through Sunday, Sept. 12, made me chuckle. A lot. Charmingly simple and straightforward, I Ka Nye explores the construction of family through movement, music, and text.
South African playwright Athol Fugard has excoriated his fellow playwrights in Britain and America for failing to maintain the tradition of politically engaged theatre. But maybe the problem is that playwrights already agree with him and are trying to follow in his footsteps–only, that mode of political theatre just doesn’t matter anymore.
Last night’s performance at the Joyce Theatre—the other half of the alternating double-bills they’re running this week—is a perfect illustration of what I was writing about yesterday when I faulted Camille A. Barnes’ choreography for relying too heavily on the music, and letting her own
At the end of the world premiere of Gallim Dance‘s Wonderland—the first half of last night’s split bill at the Joyce Theatre, along with work by Camille A. Brown—the audience responded with an enthusiastic round of applause that didn’t quite translate into a standing ovation.
There’s a sequence about two-thirds of the way through Smithsoniansmith, the dance piece by Scott Heron and Hijack Dance that finishes its run at Dixon Place’s Hot! Festival this weekend (Thurs.-Sat., tickets $10 advance), that captures the way this trio explores movement. Dancer Arwen Wilder
Half Straddle‘s Nurses in New England, playing through Sat., July 31 as part of the Soho Think Tank’s Ice Factory, is hardly without its charms. Tongue firmly in cheek, playwright Tina Satter sends up virtually every medical TV show cliche through this musical set in
Late last week and over the weekend, trying to dodge out on the heat, I caught three of the performances in the closing week of undergroundzero festival at P.S. 122.