Honji Wang and Sébastien Ramirez, of Wang Ramirez, are often presented as cross-cultural navigators, both in their performance styles and in their personal lives. Wang is a Korean-German dancer with training in martial arts, ballet, and hip-hop, while Ramirez is a French-Spanish B-boy. From the
How will we ever go back after the planting that guest curator Eva Yaa Asentawaa sowed during last week’s “the skeleton architecture, or the future of our worlds?”
I’m always starving. First of all, I’m kind of a lush: always spending my hard-earned artist salary on good wine and some dope new trendy neighborhood Ramen or whatever. But also as a contemporary theater maker, I’m famished. Famished for people to see my work,
it’s the rare conversation that ventures into the silence surrounding all of the strange aspects of postpartum recovery and the illusion, for many, of the six-week, go-forth-and-fornicate appointment
You had to be there, but if you weren’t… make it a point next time to get yourself seated at his feet and revere in his splendor. areyouready?
With this 11th Platform, curated by Ishmael Houston-Jones and Will Rawls to focus on the impact of the AIDS crisis, they’ve expanded across time, skipping across aesthetic differences, addressing dismissal and erasure and getting up close and, truly, personal with the place dance holds in many of our lived and lost lives.
It’s funny, like a more restrained, extended version of Saturday Night Live’s NPR spoof, “Delicious Dish.” But there’s more to it.
They fucked us good.
Yes! A literal PARADE of surface level DIVERSITY.
The language in the play is often poetic and strange, shining unexpected light on the real, sad ways that we often miss one another, even as we suffer in close proximity.
We do not ordinarily have much cause to come to Wall Street. But we are here. We are here to see Julius Caesar. Spared Parts.
We go on with our daily lives, reacting not much more consciously than the sheep, who respond to their concerns only by releasing little poops.