Dance
Choreographer Heather Stewart’s use of the stage space, while not “immersive” by the standard art world definition, is inventive and meaningful.
It was a mind-blowing experience. Countless times in dance performances a choreographer strives to make movements on stage mimic music. But Dianne McIntyre was dramatizing a much deeper, more organic connection.
Homer’s use of ancient myth is used to show that women, like the sea, have been — and will continue to be — the ecological instigators of growth and transformation.
For MOMIX’S performance at Jacob’s Pillow, Moses Pendelton assembled a “greatest hits” selection of sixteen vignettes from the troupe’s oeuvre.
At the Pillow, the wonderful Social Tango Project brought the form back to its political and aesthetic origins: it is a dance designed to unify and uplift participants and audiences.
Sara Juli has proven herself to be a master of using humor to examine subjects that are uncomfortable and not at all comic.
“We ask them to interpret the music through their own experiences, so they are connecting to and performing what Mr. Ailey called ‘blood memories’ on stage.”
Drawing on wide-ranging research and personal anecdotes gathered during the time he spent with the company, Robert Pranzatelli navigates us through the insouciance and absurdity of Pilobolus’ past.
Flamenco is big, bold, and fully human as it (often) traces the tensions of courtship, indulging in the sensual and the aggressive.
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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