Boston Dance Theater’s four pieces seemed to counter female stereotypes but raised limited alternatives.
Institute of Contemporary Art
One thing I liked so much about this show, besides the mental and physical challenges, was its use of really simple and mundane materials.
Local examples of immersive aesthetic and sensual experimentation as forms of cultural experience.
An intriguing cross-disciplinary concept gave birth to a pallid, underrehearsed production.
Dana Schutz packs evocative and unexpected narratives into confined spaces, but not all of them fit as well as she thinks they do.
I enjoyed the working-out of all this material, and the beautiful dancers, but I sometimes felt I was back in the consciousness-raising ’60s and ’70s.
Dancer/choreographer Maureen Fleming’s highly distinctive style of movement is unforgettable.
BODYTRAFFIC seems to be invested in a relentless likeability.
Any performance of Meredith Monk’s is spare to the point of enigma, and also tremendously evocative.
The performance turned out to be a nervy but hypnotic game of endurance for performer and audience members.