Search Results: Debra Cash
Susan Larson’s The Murder of Figaro is spiced with raunch, witticisms, and behind the scenes verisimilitude of rehearsal life.
Read MoreBy Debra Cash Ella Baff, executive director of the Jacob’s Pillow Dance Festival, recently shared the revision of an article she wrote for Arts Manager International Magazine last year. Her first tip for audience members: “Relax. Remember that when you travel to a foreign country, you may not know the language, but this does not…
Read MoreArts Fuse critics select the best in dance, film, and theater that’s coming up this week.
Read MoreThis is the third installment of Debra Cash’s coverage of events associated with the Institute of Contemporary Art’s Dance/Draw — this time around its an appreciation of the Trisha Brown Dance Company.
Read MoreBy Bill Marx Critic Debra Cash’s excellent writings on dance can be found on The Arts Fuse. She has new book of poetry out, timed perfectly for the upcoming Jewish holiday. The lyrics in the volume Who Knows One are “based on stories, language, and associations connected to the Passover Haggadah.” Those who have admired…
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In our intersectional age, the stories of the fools of Chelm belong on the shelves of any child with a taste for the ridiculous and — with the clarity of kids — an ability to see through self-delusion.
Read MoreThis is the first of a series of occasional essays where Fuse Dance Critic Debra Cash will reflect on dances made for camera and new technologies. As they used to say, don’t touch that dial!
Because Mindy Aloff is so deeply personal and idiosyncratic — and so dependent on what was programmed by certain theaters, in certain years — her book distorts the very topic it is intended to illuminate.
Read MoreIn Serenade/The Proposition, the first of Bill T. Jones’ investigations into the myth and legacy of Abraham Lincoln, the choreographer looks at history and history looks back. By Debra Cash Cash was the professional critic on the Judicial Review panel reacting to Bill T. Jones’ Serenade/The Proposition at Jacob’s Pillow, July 21 through 25. She…
Read MoreCut out of translucent and colored ox or donkey hide (sorry, PETA), they are foot and a half tall, two-dimensional figures operated by rods set up behind a slightly canted screen.
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