Move over, Marina

A good deal of experimental dance today--as in the Judson Church days--is closer to performance art. It examines its own parameters; the movement may be minimal. And yet choreographers exist in a nearly invisible parallel universe to visual artists. While choreographers and their audiences know what's happening in gallery and museum, the reverse isn't usually true--not on this side of the … [Read more...]

The drama in dance: Faye Driscoll and Trisha Brown

Faye Driscoll's 837 Venice Boulevard, which premiered at Here in the South Village in late 2008, amazed me so thoroughly that it's no surprise her latest, at Dance Theater Workshop a couple of weeks ago, amazed me somewhat less. It hardly had a chance. Still, I remain impressed by how Driscoll harnesses dance and the best experimental theater's story rhythms to expose the seams between social … [Read more...]

Twyla Tharp’s “Come Fly Away”: subterranean homesick blues

So, unlike Movin' Out, which was almost unanimously hailed (though not by me) or the Dylan dancical, which nearly everyone despised (including me), Tharp's third foray on Broadway in the last ten years, Come Fly Away--to a Sinatra medley, with the man singing, inimitably, from the grave and the orchestra live--has divided critics so drastically that the New York Times staged a contretemps between … [Read more...]