Past Internetting: On MADONNA col BAMBINO
This testing, naming, retreating, reframing; lifting to the light the grays and yellows and beiges and browns of inner worlds – is often the dance of the play.
Category Archives: Responses
Marie and Bruce, forty years later
Hammel draws us in to her experience, while granting us a bit of separation from the material itself (which is unrelentingly bleak, flirting with misogyny, although its view of the male specimen isn’t without contempt either).
A Neverland Dystopia?
This is Peter Pan set in a dystopian futureland, the music acting as a remnant of a memory of a time when feeling was more possible, when childhood was more innocent; before we found ourselves up against a neon wall, staring out at the void, attempting to determine if we’ve (finally, like Peter did when he flew back one night only to find the window closed against him) reached a point of no return.
What Happens When Elevator Repair Service Stages a Play?
How do you deconstruct a deconstruction?
More Muscle! Liza Birkenmeier’s ‘the hollower’ (director Kristy Dodson) presented by New Light Theater Project
One woman’s refusal to participate in the social straightjackets necessitates another’s sacrifice; the hollower’s women are negatively bound to each other in a zero sum game.
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.
My name is not John, but it may as well be: on Danger Signals by Built for Collapse
The history in the text (of lobotomies, of white-male explorers, of colonization) becomes compressed: events, accidents, happenstance, and mistakes, become “like layers of snow into a glacier.”
Shapeshifters: Black Queer Land(ing) at Gibney Dance
mayfield brooks, jumatatu m. poe, and the I Moving Lab are part of aa three-week series conceived and curated by Marýa Wethers at Gibney Dance highlighted “intersections and crossroads among Blackness, queerness, and Indigeneity.”
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
YERMA Turns Audio Operatic – Aron Canter responds
Her quizzers and yelps, the need of her sound, the holes in her anger revealed through the unsteady rocking of her delivery, created the tapestry that was her performance.
Moth&Flame: Audrey Moyce Responds
Suggestions of timeless spaces, Miss-Julie-ish rage, and as I knew from the program, taking up issues of sexual violence.
Aloha, Aloha, or When I Was Queen: Is That Voice Still Mine?
There is a dizzying effect to the realization / acknowledgement of one’s cringe-worthy actions as white person to date, and Aloha Aloha gives that kaleidoscopic wheel quite the healthy spin.