This mysterious dance may have no meaning at all beyond its cryptic theatricality and movement. Or it may mean a lot.
Marcia B. Siegel
Monica Bill Barnes, a dancer-choreographer, mime, storyteller and soft satirist, has riffed in the past on the pitfalls of dancing, the vanity of performers, the absurdities of adolescence. Now she’s looking at gender displacements and assertions.
Mark Morris and Ethan Iverson chose songs from the famous album for reflection and extrapolation. What they made is an entertainment, a romp for the company’s terrific dancers.
What few signs of the rich culture embedded in Danza Orgánica’s artistic director and choreographer Marsha Parrilla’s heritage made token appearances.
I thought I’d never seen such a thrilling example of how dance and music can combine and feed each other.
Our critics pick some of the highlights of the year in dance.
Dressed in cream-colored pants, a crisp white shirt, sneakers, and big owlish spectacles with red plastic frames, Twyla Tharp played the professor in the first part of the 90-minute show.
Boston Dance Theater’s four pieces seemed to counter female stereotypes but raised limited alternatives.
John Heginbotham may be making modern dance but he gives us the gift of classicism: discovery within form.
One thing I liked so much about this show, besides the mental and physical challenges, was its use of really simple and mundane materials.