Jo Kreiter’s performance, Sorry/Please/No, opens conversation on restorative justice at the intersection of dance, activism, and abolition.
Five rectangular screens hang down like stair steps hovering over the stage of Jerron Hermans VITRUVIAN. Extending in a diagonal line, each screen displays the same drawing by contemporary artist Chella Man. A big nod to Leonardo DaVincis Vitruvian Man (c. 1490), the image depicts two superimposed sketches of Hermans body. In an obvious departure from the classical image, the body is drafted as a quick sketch with legs of differing lengths that push past the circular frame, and shorter arms that fail to reach it.
Hudson Hall, built in the 1850s as Hudsons first city hall, was designed to function as a Columbia County gathering place, with a post office, bank, lecture hall, and gallery. It continues to draw the public, albeit with performances in its splendid hall, recently renovated to incorporate modern amenities such as a/c and an elevator. With a flexible, gymnasium-like floor plus a raised proscenium stage, it hosts forward-looking events which eschew traditional models.