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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I went to see “Illinoise” on its last day at the Park Avenue Armory. The Justin Peck production was already set to move to Broadway, and Sufjan Stevens fans were already ecstatic: the singer-songwriter’s deeply felt, ingeniously conceived 2005 album Illinois is not only the impetus and origin of the Peck dancical but also its libretto and score, with a group of wondrous winged singers and multi-instrumental musicians scaffolded above the stage performing the album in its overwhelming entirety, though re-arranged a bit and shuffled. The critics had also already weighed in; they divided sharply between those, usually from the theater world, who deemed the 90-minute show sweet and novel for being as wordless as “Movin’ Out” and those, from the dance end, who found it cloying and sentimental.
But no one mentioned God.
Performance
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Words
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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Thank you, Rachel. I see things that need tweaking. (I wrote it too fast, for me.) But thank you.
What a deeply considered, sensitive, and evocative review. Thank you.