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Notable Women
FIELD NOTES | Candice Thompson

Notable Women

When Camille A. Brown appears out of the dark upstage and into the light, it prompts an unironic version of the question: “To what do I owe this honor?”

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After Ailey
FIELD NOTES | Candice Thompson

After Ailey

Okwui Okpokwasili’s arms undulate, reach, and circle in the near dark under an oval projection of rippling water. Her arms babble out from her expressive back, capable of relating tales both epic and intimate. Notably, this is how I first encountered her work, nearly a decade ago, in “Bronx Gothic”—through her incredibly articulate spine and upper body coming into its own, conveying the metamorphosis of adolescence.

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Super Nothing
FIELD NOTES | Candice Thompson

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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On Endurance
FIELD NOTES | Candice Thompson

On Endurance

In a four-day span of early January I saw: Monica Bill Barnes wrestle a giant beach ball at Playwrights Horizons; Malcolm-x Betts and Nile Harris shoot blanks into the rafters of the Chocolate Factory in honor of Judith Jamison’s spirit; Symara Sarai run in and out of a swirling lasso at New York Live Arts Studios; and Angie Pittman dart across a shallow stage, in character as a vampire, cape flying, at BAM Fisher Hillman Studio in a shared bill with Kyle Marshall Choreography. In short, it was APAP season.*

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