Debra Cash
Instability is key to Brian Brooks’ choreographic agenda. Some of the dancers crouch on their hands and feet and are transformed into slow-moving mounts for the dancers balancing on their backs.
What Ain Gordon’s play demonstrates is that even when records are indecipherable and incomplete, we still have the right, and perhaps the responsibility, to imagine what happened.
“We’re in this really great place now where the music [klezmer] can sound fairly traditional in style but at the same time we can do more in-depth arrangements.”
This week, Devon Carney was named Artistic Director of Kansas City Ballet.
While I believe that merely publishing these days is an act of entrepreneurial legerdemain, I direct you to a pair of Canadian poets who have gone one step beyond.
The influence of two centuries of dandies on fashion — and the artful, strategic, ready-for-the-paparazzi self-presentation at the heart of modern celebrity — is on wide-ranging and colorful display in the Rhode Island School of Design Museum exhibit.
Yes, there is dance in New England this summer, but those who love motion may need to embark on a little themselves to journey further afield to watch it. The trip, I can assure you, will be worth it.
“A Constellation of Vital Phenomena” is spectacular.
In George Balanchine’s Serenade and Symphony in C and in Wayne McGregor’s Chroma, architecture comes to the fore, but not exactly conveying the message that company director Mikko Nissinen seems to have intended.
Book Appreciation: “Gulliver’s Travels” at 300 — Small Men, Tech Bro Delusions