It’s heartening to see that the BAM Harvey Theater is nearly full for Three Acts, Two Dancers, One Radio Host, a celebration of forms with a tenuous grip on our cultural attention span. Ira Glass, producer of This American Life, hosts, while Monica Bill Barnes and Anna Bass of Monica Bill Barnes and Company join him as dancers.
Hofesh Shechter's Grand Finale opens with a burst of energy, yet the intensity remains curiously level for a dance that seems to be about end times.
The massive, blazingly white stage, erected at the Park Avenue Armory for Anne Teresa de Keersmaeker’s North American premiere of Six Brandenburg Concertos, creates an atmosphere of heightened expectation. It looks like a giant frozen pond, or the head of a drum, and it feels like something big is bound to happen.
Director Chen Shi-Zheng's Dragon Spring Phoenix Rise, a premiere for The Shed's inaugural season of programming, is billed as a kung-fu musical, meant to be innovative in its combination of cultural forms and sensibilities. Instead, it's a confusing mishmash.
On May 14, I sat down at my tiny table to listen in on REAL TALK! the first public discussion of the Creating New Futures document. The CNF document is an urgent response to the wave of COVID-19 cancellations that have decimated the performing arts, assembled by a group of choreographers, producers, funders, and others within the dance world. As facilitator and noted choreographer Maria Bauman-Morales opened the evening, she called in the legacy of revolutionary anarchist and labor organizer Lucy Parsons as one of the ancestors we can learn from in this moment.
The Lower Manhattan Cultural Council (LMCC)'s River To River Festival stages art and performances throughout lower Manhattan, enlivening civic buildings and other public spaces with free events. The festival originated as part of the post-September 11th economic revitalization, demonstrating that the neighborhood was safe and resilient.
“The Current Sessions” (TCS) had been steadily functioning as a mixed-bill series, hosting a variety of emerging and established choreographers in four shows over the course of a weekend.
Baldwin leads her audience on a strange journey through the land, and Quarry feels deeply site-specific while remaining mysterious and a little unsettling.
I can hear low conversation as people gather around a glowing light and write letters to the future. Later, in the deepest part of the night, someone plays the violin. The sound stays with me as I doze off and helps me remember where I am when I open my eyes.