Director's Cut
Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
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The show starts outside the theater. A car, with its right rear window busted out, pulls up, music blaring, bass turned up. A burly, formidable man exits the driver’s seat, opens the trunk, and props himself casually against the passenger-side door. From the trunk, Sati Veyrunes emerges. Veyrunes is small, spunky, and elfin—she parts the crowd as she begins to perform, channeling the music as though possessed. Veyrunes holds tension in her body almost like electricity—she melds with the beat like one does at 2 am, surrounded by strangers, everything enhanced by a (perhaps synthetic) euphoria. At times, Veyrunes’ eyes roll back in their sockets, her eyelids flickering, as though the music and the movement are allowing her to transcend her earthly body.
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Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
Continue ReadingThe Trisha Brown Dance Company embarks on a national tour this June celebrating the centennial of avant-garde American visual artist Robert Rauschenberg.
Continue ReadingFor Ballet Hispánico’s upcoming season at New York City Center from May 29-June 1, the company will present Gustavo Ramírez Sansano's “Carmen.maquia,” a contemporary take on the timeless story at the heart of George Bizet’s unforgettable opera “Carmen.”
Continue ReadingAngelina Laguna kneels on the sidewalk and places her body perpendicular to the flow of the First Avenue foot traffic.
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