Debra Cash
“Making Art and Making a Living” assembles colorful tales of ingenuity while skirting the economic inequities that make them necessary.
Raffaella della Olga prepares manual typewriters the way John Cage prepared pianos, using their percussive power to completely subvert their original purpose.
Turn the lake into a lotus pond and you can take it from there.
“Suffs” bounces through a timeline of conferences, direct actions, interpersonal snits, and self-questioning over whether the entire endeavor is really worth it.
With autobiographical wryness on the menu, Sara Juli and Alexander David is a match made in performance art heaven.
The Gibney Company has brought a three-work evening to town that any chamber-sized contemporary dance company in the world would admire.
The question was how well these mid-20th century works would hold up and how, with the passing of time, those dances would look to both familiar and fresh eyes.
As this duet unfolds, it opens the way to musings about how a bed is a human-sized rectangle on which are projected dreams and nightmares, sexuality and erotic boundaries.
“Balanchine Finds His America” is written primarily in the present tense, so that reading the book is like watching a never-to-be-repeated dance performance.
In “Myokine”, the ensemble itself is under interrogation: can these dancers connect enough to rescue each other? Can they form bonds of solidarity?
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