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retty tale as realized by the exquisite ensemble the music bespeaks the mastery and majesty of human heart and mind as it rises to the constant occasion of loss if the tale of the lovers carries the sensation of flight in sensual beauty and hope the rejoinder comes in the form three crones powerfully embodied by joan arnold grazia della terza and alison granucci these heavily costumed apparitions with their bald pates and their beard like masks that like an islamic niqab leave only the eyes uncovered dance as if through mist and mud or clinch their entire bodies around the stage s columns their long crooked green fingernails seeming to claw the flesh of fluted steel joan arnold alison granucci and grazia della terza as the crones based on the ancient greek graeae the denouement of these contending tableaux comes in an extended counterpoint as first three of the swans return their torsos now swaddled in rope mesh tunics from behind their line the swain re enters with his uugghh and thud as love inevitably falls to earth the finale finds the crones displacing this quartet they enter encased in stiff reliquary like sarcophagi of various lengths each of which has a different devotional door that they one at a time swing open exposing a human and vulnerable face a breast a forearm as striking vivid and fastidiously fashioned images such as the reliquaries can be reminiscent in their communicative quality of the scout encasing ham in the film version of to kill a mockingbird williams creativity with costuming can sometimes get in his way the crones masking and headpieces limit movement and expressive possibilities as do the tunics on sundberg eagly and lafferty the program lists andy jordan as the designer of the evening s costuming with additional elements by williams and carol binion i admire williams thematic mash ups even when they don t quite cohere cogently i see this as less the case with hen s teeth than i did with the program s opening work in progress tentatively titled gobbledygook here the stark naked and brilliantly choreographed weinert meets a black painted plywood wall at the back of one side of the stage space before he is met with the bare chested hakama pants wearing eikazu nakamura nakamura sidles in near the back of the stage at the audience s right while the blue lit weinert starting prone at our feet probes gravity and his wall like caterpillar seeking a chrysalis hook in their single stark moment of interaction the japanese dancer helps his hapless partner find his sticking place by pinning him to the wall with a hand around the throat above adam h weinert in gobbledygook all photos by paula court the two intensely introverted solo sequences that follow for nakamura have the feel of esoteric ritual the second adding an armor like vest made of woven reeds over the hakama only had you picked up press material consulted dna s web site or had the time and sense to ask the choreographer or one of the dancers post show would you be likely to know that the ritual incarnates an imaginary version of the buddhist segaki rite that concerns itself with personal atonement and easing the suffering of the wandering slithering dead you might further have discovered perusing these same sources that hen s teeth incorporates imagery inspired by the mysterious flying women found in a breton fairytale preserved by 19th century folklorist françois marie luzel the graeae or three swan like crones of ancient greek myth who share only one eye and one tooth between them and that associated with the display of holy relics in the middle ages who knew when does such elucidating information become t m i too much information i ask simply because williams generous and admirable inclination to edify his audience can sometimes backfire to limit the literal minded i for one enjoy not knowing until i want to know i then enjoy using the tools that the creator has placed within easy reach including himself in the meantime i have not been prevented from intuiting a reference to matisse s la danse in the midst of the topless sextet or the choreographer s wicked way of tilting with petipa s swan lake imagery in the program credits williams can seem to be everywhere at once but i find it intriguing that only the press notes for gobbledygook mention him alongside the program credited david griffin as the source for the piece s intricate electronic sound score this artist belongs in the opera house and i predict that it will only be a matter of time until he lands there that seems the only place that his production values and vision can live in uncomfortable equilibrium with the support artistic technical production and financial that will allow them all to reasonably complement or at least successfully co exist in creative competition if the creator s obsession as a medievalist may initially obscure this path to the stage his devotion to music and spectacle makes his breakthrough for me a matter of when and not if given his ability to render he can like the young robert wilson devise collaborative operas of his own his vast visual frame of reference and his dexterity in presenting both male and female form often startlingly yet insouciantly nude in ways that allow us to recover our endless fascination and sense of humor surrounding this mortal coil point to a future on today s big screen performance stage jacqui kerrod on pedal harp and elizabeth weinfield on baroque viola performed admirably along with the rest of the music ensemble the excellent lighting across the board can be credited to amanda k ringer dna s artist in residence program continues to impress posted by dj mcdonald and his enemies at 7 59 pm no comments labels adam h weinert anonymous 4 christopher williams dance dance new amsterdam david griffin gregory spears la bayadere lionheart matisse opera robert wilson swan lake to kill a mockingbird sunday june 13 2010 five questions for alexandra bassett five questions for alexandra bassett posted by dj mcdonald and his enemies at 9 02 pm no comments labels alexandra bassett culturebot wednesday june 9 2010 stretch it flaunt it lamama takes tisch around the corner for fun and profundity stretch and be smart about it translate into latin tendo quod operor is purpureus and that might become a motto for nyu tisch school of the arts dance program standing l to r jamie graham rebecca woll moses kaplan alex schell maggie ronan jessica thomas seated l penny dannenberg photo by eric bandiero over the past several months i have encountered department chair cherylyn lavagnino and faculty member jaclynn villamil with graduate students in tow both at dia beacon for the dress rehearsal of the trisha brown dance company s performances there in february and at danspace st mark s granted the latter happens to be just up second avenue from the department s home at 6th st but wouldn t that be a smart stretch last friday those two along with faculty project facilitator jim sutton could be found in the first and second rows of la mama annex around the corner on e 4th st and some of the graduate students along with a number of newly minted bfa s and mfa s could be found on the stage there in the evening s most intriguing and compelling spectacle four of them found themselves fully integrated into naomi goldberg haas uprooting a piece that incorporates three generations of performers to suggest passages both physical and metaphysical at rear l to r moses kaplan jamie graham maggie ronan jackie ferrara front penny dannenberg ani javian photo by eric bandiero goldberg haas has been directing her dances for a variable population since 2005 with professional company members ranging in age from 25 to 81 the seamless addition of nyu dancers moses kaplan maggie ronan alex schell and jessica thomas highlights one of the choreography s strengths set to several propulsive folk inspired recordings by the polish combo warsaw village band uprooting manages to find and challenge each of its 13 performers at or near the limit of her his technical and expressive potential and to transcend this challenge by suggesting the existential humanity of yearning striving transformation and reflection from youth to age and memory back to immediate experience the performances of senior members penny dannenberg jackie ferrara judith chazen walsh and betty williams while remarkable in their own right create a frame of dimension and depth for those of their youthful collaborators their regard of the youngsters manages to encompass a mixture of dispassionate assessment with intimations of mentoring longing and sassy competitiveness and even one upmanship that leavens the poignancy of both the music and the dancing with pith and wit in one exquisitely simple and memorable moment dannenberg and geraldine bartlett slowly sit down back to back to share one of the folding chairs that has been brought on to the stage their mirror images present in such a way as to leave open the question expertly poised of who might be a reflection of whom below l to r m lindsay smith jackie ferrara photo by eric bandiero add to this interplay the lusty way in which goldberg haas young professionals jamie graham ani javian m lindsay smith and rebecca woll bite into the music and movement as if to both throw down a challenge and lead the way among their younger and older counterparts and you have a work that begins to transform the creative potential energy of dances for a variable population into a power to move and inspire its audience as much as its own members in this rehearsal director smith of the high arched and articulate feet and whip smart torso and the equally fiery graham set the tone as firsts among equals with any luck this cross generational ensemble including its new found tisch quartet will manage to hold together long enough to re present an outdoor version of this work at the end of september in cooperation with hudson guild fulton senior center along the high line park in chelsea below l to r ani javian m lindsay smith jamie graham rebecca woll photo by eric bandiero one can only wish as much for selina chau s the new york exchange this witty cheeky extremely well crafted send up of everything from dance style pretensions to kung fu movies features fine performances by monica barbaro as a wayward ballet princess austin j diaz and gierre j godley as various ny dance street and martial arts types and mandarin wu as the archetypal femme fatale with the fan mandarin wu with fan gierre j godley and monica barbaro photo by tony dougherty chau displays a sharp eye and a supple mind for theatrical type and form fable kitsch and the way pop culture co opts all of the above set to an ingenious score by kyle olson that mashes up his own new york exchange with passages from adolphe adams score for giselle and romani and bellini s costa diva from norma interrupted by chinese text passages written by chau and comically delivered by co writer wu the work sets up and then undermines expectations in a way that satisfyingly compliments that of goldberg haas like the latter dance maker chau has keen sense of theatrical and especially in her case comic timing and the delicacy of gesture that allows us the comfort of recognition just as she twists to tickle and subvert our prejudice such rare gifts more than justify tisch s repeated presence in the annual lamama moves festival when you ve got it why not go the extra mile or two blocks beyond your building and perhaps your comfort zone to flaunt it posted by dj mcdonald and his enemies at 8 30 am 1 comment labels cherylyn lavagnino dance danspace project dia jamie graham kyle olson lamama m lindsay smith naomi goldberg haas nyu tisch selina chau warsaw village band saturday june 5 2010 five questions for reg flowers five questions for reg flowers posted by dj mcdonald and his enemies at 11 01 am no comments labels culturebot reg flowers five questions for ryoji sasamoto five questions for ryoji sasamoto posted by dj mcdonald and his enemies at 10 56 am no comments labels culturebot ryoji sasamoto five questions for sarah kilby five questions for sarah kilby posted by dj mcdonald and his enemies at 10 50 am no comments labels culturebot sarah kilby older posts home subscribe to posts atom welcome to city of glass in an age constantly referred to as global we find ourselves increasingly ensconced behind walls of glass look around the city you ll see that the new cheaper imperative has begun to transform the brick and stone facade of the ancient urban order here you ll find commentators who hope to venture afield of their accustomed boxes we look for smooth stones but when we sling them we hope to do so with precision awareness and a sense of humor please look around and if you d like to reflect reshape illuminate cut cast color polish etch score or skip a skimmer or two off any surface you see we hope you will feel at home in doing so we welcome submissions on arts and culture from many perspectives glass can be blown and bent as well as broken and we seek to mend as well as to magnify about me dj mcdonald and his enemies new york city united states i ve choreographed everything from renaissance operas to hip hop and headed a modern dance and theater company of my own for 15 years i ve directed plays comedies and book musicals helped direct a professional cabaret dinner theater and comedy series in the berkshires and have been working on my fourth major piece of music theater for over a year i ve been trying to complete in some fashion the same film i ve been working on for 4 years when it happens it will go straight to the web as a short i write poetry occasionally writing criticism seems to be what i do when i ve run out of other things to distract me view my complete profile blog archive 2010 14 june 10 five questions for greg manley uugghh to the opera christopher williams unzip five questions for alexandra bassett stretch it flaunt it lamama takes tisch around five questions for reg flowers five questions for ryoji sasamoto five questions for sarah kilby five questions for shireen dickson call me leamhsi bill shannon circumnavigates the painting the town rocha mad men meet the ladies may 2 april 2 2009 18 september 1 august 3 june 6 may 4 april 4 followers my blog list 651 artsblog welcome new board members 5 years ago about last night just because clifford curzon plays the trout quintet 11 years ago dance theater workshop dancehelp com rss feed dancing perfectly free the mariinsky ballet s cinderella 11 years ago everyone s blog posts dance tech net open call 31st quinzena de dança de almada international dance festival 3 years ago flyover foot in mouth tuesday december 30 12 years ago infinitebody eva s on substack 1 year ago lies like truth on skiving off 15 years ago move the frame new blog location 16 years ago nancy dalva off center interview lara spence 11 years ago retail anarchy 12 bewerbung für tankstelle 5 years ago serious popcorn the ul...