Dance
After five decades of blending strong technique with playful satire, the Trocks continue to impress, but some of their once-fresh humor feels a bit played out.
When the performers finally left the platform, breathing hard, crawling towards us and into the audience, I realized I was seeing something new.
“Modern dance is not a secret club. Yes, we are presenting masterpieces by a visionary 20th century artist, but we are communicating that through the greatest dancers today, and showing how that work continues to evolve.”
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.”
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