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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In summarizing Sir Frederick Ashton’s oeuvre in 1961, celebrated critic Clive Barnes writes, “For all this his ballets are best seen from above.” In Covent Garden, Barnes continues, his favorite seat from which to view Ashton’s work is “from gallery right at the top of the house.” Although New York City audiences had the chance to catch a rare glimpse of Ashton’s choreography last week, thanks to Sarasota Ballet, the venue—the Joyce Theater—lacked the depth and perspective to really do his ballets justice. With its unadulterated sight lines, the intimacy of the Joyce is usually a joy for viewers. But when it comes to bejeweled costumes, intricate formations, and complex footwork, a little bit more space between the audience and performers (and the performers themselves, who often seemed at risk of tour jeté-ing into one another) might have helped to smooth out the kinks, and bring the entirety of Ashton’s vision to life.
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Macarena Gimenez and Ricardo Graziano in Frederick Ashton's “Birthday Offering.” Photograph by Steven Pisano
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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.
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