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.
PlusWorld-class review of ballet and dance.
Jacqulyn Buglisi is not one to shy away from big ideas. For the thirtieth season of the company founded by four of the last generation to have worked directly with Martha Graham, Buglisi takes on human rights, world peace, forbidden love, and climate crisis in a program of seven works, including three premieres. There’s much to respect in the female-centric work and age-positive artists that Buglisi Dance Theatre presented at Ailey’s Joan Weill Center for Dance. It’s also a lot for a two-hour show.
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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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