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Close-Up Worlds

February 26, 2019 by Deborah Jowitt

Bill Young/Colleen Thomas & Co. February 22 & 23 I’m sitting in Bill Young and Colleen Thomas’s loft waiting for the rest of the audience to straggle in, greet friends, maybe pick up something to drink, and settle down for the program of dance in LIT No. 19 (Loft into Theater).  Memories assail me, specifically those filed away under  “good old days in NYC,” when … [Read more...]

Four Dances Mingle As One

December 12, 2016 by Deborah Jowitt

Bill Young revives his Interleaving at 100 Grand Street, December 9 through 11. I was beginning to write about Bill Young’s revival of his Interleaving after he'd given it a 30-year vacation, when my planned opening struck a chord. Yes, there it was, the start of my 2013 review of A Place in France (a collaboration between Young and his wife, Colleen Thomas): me at 100 Grand Street, … [Read more...]

Across the Water, into the Past

September 18, 2016 by Deborah Jowitt

Colleen Thomas Dance performs a site-specific work on Governors Island, September 16-18. Visiting Governors Island for the first time (yes, really), I look at the fine old wooden houses ranged around the grassy expanse known as Nolan Park—some of them quite grand—and wish I could have grown up there. Probably not when its cannons, facing the scant 800 yards of water that separate the island … [Read more...]

The Attraction of Opposites

May 19, 2013 by Deborah Jowitt

Pam Tanowitz's The Spectators at New York Live Arts, May 15 through 18; Bill Young and Colleen Thomas's A Place in France at 100 Grand Street, May 16 through 19. Pam Tanowitz’s new The Spectators at New York Live Arts is so clean you could eat off it. Pristine patterns control the six dancers she deploys, and no move they make is blurred or loose. One of Tanowitz’s talents is making cool … [Read more...]

Deborah Jowitt

Deborah Jowitt began to dance professionally in 1953, to choreograph in 1961, and to write about dancing in 1967. Read More…

DanceBeat

This blog acknowledges my appetite for devouring dancing and spitting out responses to it. Criticism that I love to read—and have been struggling to write ever since the late 1960s—probes deeply and imaginatively into choreography and dancing, … [Read More...]

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