Debra Cash
When the performers finally left the platform, breathing hard, crawling towards us and into the audience, I realized I was seeing something new.
Choreographer Heather Stewart’s use of the stage space, while not “immersive” by the standard art world definition, is inventive and meaningful.
This simultaneously entertaining and provocative show contests the premise that people today are invariably more sophisticated than those who lived in spiritualism’s heyday.
This, my friends, is what a capital D Diva looks like.
“The only way to keep the music alive is to view it as a living thing and support artists who approach it that way, rather than as a museum piece.”
Arlekin Players Theatre’s “The Dybbuk” may not convince you of the supernatural, but director Igor Golyak is a magician.
You either go full Hollywood CGI, or you pare it down to the poetry of it.
This small volume is apt to become a classic that is passed hand to hand.
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.
Too, too soon, the images in MOMIX’s “Alice” alternate between unpleasant and stale.
Design and Visual Arts: Affordable Housing, By Design