Debra Cash

Book Review: “The Amen Effect” — Call It Pastoral Community Organizing

March 11, 2024
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This small volume is apt to become a classic that is passed hand to hand.

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Dance Review: Shamel Pitts’s BLACK HOLE — Moving into a Space Beyond Our Own

February 11, 2024
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In “BLACK HOLE,” the TRIBE trio moves as if learning for the first time how their skeletons and muscles are constrained and empowered, perplexed and bedazzled, by gravity’s incontrovertible power.

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Dance Review: Momix’s “Alice” — Curiouser and Curiouser

January 22, 2024
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Too, too soon, the images in MOMIX’s “Alice” alternate between unpleasant and stale.

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Book Review: “The Boy From Kyiv” — The Next Big Deal

December 27, 2023
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As the first draft of documenting choreographer Alexei Ratmansky’s career, this book will be invaluable, but by the end of it, the story may look somewhat different.

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Opera Preview: Expanding “Butterfly”‘s Habitat — A Chat with Phil Chan

September 6, 2023
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We’re not saying get rid of “Madama Butterfly” We’re saying do a better Butterfly.

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Weekly Feature: Poetry at The Arts Fuse

April 13, 2023
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Here’s this week’s poem, Debra Cash’s “The Boat: April 19, 2013.”

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Book Review: “Why Dance Matters” — Slip Sliding Away

February 28, 2023
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Because Mindy Aloff is so deeply personal and idiosyncratic — and so dependent on what was programmed by certain theaters, in certain years — her book distorts the very topic it is intended to illuminate.

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Dance Review: “What Problem?” — Bill T. Jones’s Angel of History

November 6, 2022
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The struggle is to define what the problem is – and to allow the questions to have big, destabilizing, and more honest answers.

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Dance Commentary: Contract Dispute Between Union Artists and Alvin Ailey American Dance Theater — ‘Buked and Scorned?

June 30, 2022
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The Ailey dancers’ demands around salaries and the length of their contracts reflect the resurgent strength of organized labor in the cultural sector.

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Arts Commentary: Getting ‘em in the Door

May 25, 2022
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For the foreseeable, capitalist American future, full and equitable access to live, professional performing arts will depend on subsidy.

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