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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How long is their nap?” my three-year-old asked about halfway through the Trisha Brown Dance Company’s performance of “Group Primary Accumulation,” a 20-minute supine dance for four. He wasn’t the only child offering unsolicited remarks; a one-year-old next to us frequently tried to enliven the proceedings with gleeful shrieks. The noises and comments weren’t unwelcome, however, even from the passerby screaming over the dancers’ heads: “What is going on here y’all? What is this about!?” This wasn’t the typical modern dance crowd. It wasn’t a theater either.
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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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