Blessed be the diplomats and the grant writers! Seven years ago, Silicon Valley-based dancer and choreographer Philein Wang applied to...
Aretha Franklin’s voice surges warm and bosomy from the sound system, singing the 1960’s Sam Cooke classic, A change is...
It was my first visit to the Dance Commons, home of ODC/Dance nestled in San Francisco’s Mission District. Brenda Way,...
I don’t think I can avoid beginning this review on a personal note. I found Episcopalian Grace Cathedral at age...
At its previous performances in North Carolina and New York, Kate Weare’s commanding “Marksman” played in large proscenium theaters, where Clifford Ross’s backdrops of black and grey images suggesting cresting tsunamis loomed high above the six dancers. The effect was lost last weekend in the black box ODC Theater where I saw “Marksman” on the San Francisco stop of its yearlong tour. Here, the dancers were practically near enough to touch, and Ross’s totemic scrolls did not seem so overpowering. But while Weare herself seemed to lament the shift in scale during Friday’s post-performance talk, I wouldn’t have had it any other way.
World Music/CRASHarts is known for bringing exceptional artists to Boston’s stages for their local debuts, and although it turns out...
