Debra Cash
This week the Cunningham Dance Foundation released The Legacy Plan, a series of steps to document and preserve Merce Cunningham’s choreographies.
Emily Johnson may be off the mainstream cultural radar, but I guarantee that is going to change, big time.
Composer James MacMillan’s musical strategy in this opera is a stylistic patchwork that seems to mean to convey that each character inhabits a different, mutually misunderstood world.
I can’t understand why people are frightened of new ideas. I’m frightened of the old ones. — John Cage to Richard Kostelanetz, 1988
What kind of culture is produced by a society that lives and governs itself by opinion polls?
At first glance, Oz and Oz-Salzberger’s “Jews and Words” seems to be an unexceptional if elegantly written and occasionally witty contribution to the Jewish bookshelf.
This version of “La Belle et la Bête” never commits to a through-line about how its metaphors and rich visual imagery are supposed to operate.
Cut out of translucent and colored ox or donkey hide (sorry, PETA), they are foot and a half tall, two-dimensional figures operated by rods set up behind a slightly canted screen.
Over the next 90 minutes, Faye Driscoll and Aaron Mattocks stepped, bounced, shrieked and scrabbled through a series of 20 to 30-count episodes, much of it having to do with orality.
Where “Little Rhapsodies” is a ballet that winks with the implication that no one will really get hurt, “Crisis Variations”, choreographed last season, lurches into the void.
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