I was mesmerized by the evocative stage pictures and the straight-at-the-audience, presentational mode of the actors, whose facial expressions and gestures so viscerally conveyed the emotional lives of the characters.
Were there no men available for the roles of Touchstone and Jaques, or was the intention to showcase more of the gifted women who are members of the ASP troupe?
I cannot prove the following judgment because I have not seen every dancer on the globe, but I believe that the members of the Alvin Ailey troupe are among the best in the world.
“The Shape She Makes” proffers an eloquent fusion of language and movement that pushes the boundaries of dance and theater without embracing the opaqueness that marks so many experimental productions.
I do not remember disliking the characters in Anton Chekhov’s “The Seagull” as much as I did in this production.
As for pulling out themes from Bill T. Jones’ gathering of tales, well, the bedrock of human existence seems to be very much on his mind — life and death, landscape and memory.
Director Melia Bensussen handles the dialogue skillfully, but she also has an eye for creating vivid stage pictures which reinforce Chekhov’s dramatic themes.
The gem of the weekend was an exhilarating production of “A Midsummer Night’s Dream,” directed by Julie Taymor in the extravagantly imaginative style she has developed over nearly three decades.
People come to The Christmas Revels to immerse themselves in memories of holidays past, before Toys R Us and “Rudolph the Red-Nosed Reindeer” co-opted the celebration. This year, as in years past, mission accomplished.
Benjamin Evett as Arthur and Erica Spyres as Guenevere turn in solid performances, dependable anchors for a cast that does the best that it can in a drab, bargain basement production.