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.
It’s not always the case that the second half of a performance is better than the first. Particularly in contemporary dance. So often, a concept is introduced, tensions established, stakes raised . . . only for the second act to somehow lose its way and fail to make that final twist of the knife. With “Nobody” from Motionhouse, it’s the second half that’s really worth watching; something gets cleared away, and the show focuses in on the performers themselves.
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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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