Super Nothing
In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.
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Lorie O’Toole steps back slightly, scanning the scene in front of her with a discerning eye. Eleven dancers move together, their limbs and torsos taking on the quality of water, their collective image becoming something like the ocean’s surf. Occasionally, O’Toole offers words of encouragement, her voice clear and strong above the melodic score. When the music stops and the dancers pause to rest, she takes a moment to expand on these tidbits, also offering corrections and suggestions.
In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.
Plus“Well, it’s big,” Seattle ballet fans were saying as they headed into McCaw Hall’s sleek sanctuary of velvet settees and shiny metal staircases.
PlusNever forget!” With the 80th anniversary of the liberation of Auschwitz and International Holocaust Remembrance Day both having been recognized last month, these words, although unspoken, coursed through Melissa Barak’s first evening-length ballet, “Memoryhouse.”
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