Site-specific work isn’t new, particularly among contemporary dance circles. The scale, however, of these recent efforts from companies who customarily present work in big, proscenium settings is notable. Choreographers are looking to every corner of their home venues, getting off the stage and changing the rules about how theatrical spaces are used.
“English National Ballet has lost a third of its dancers in two years amid claims of verbal abuse and a hostile working environment, with some former dancers claiming they felt pressured to work while injured … Sources said the dancers held Tamara Rojo, the artistic director, responsible for the company’s culture.” Adding to the problems, say some dancers, is Rojo’s relationship with dancer Isaac Hernández.
This doesn’t sound shady at all: “Devumi sells Twitter followers and retweets to celebrities, businesses and anyone who wants to appear more popular or exert influence online. Drawing on an estimated stock of at least 3.5 million automated accounts, each sold many times over, the company has provided customers with more than 200 million Twitter followers” – and at least 55,000 of the accounts are basically identity theft.
He insisted it wasn’t a “Choose your own adventure” TV miniseries/app. Instead, “it’s both a dazzlingly experimental work and a totally conventional murder mystery. It’s frank and secretive, flooding viewers with information without giving them the tools to make sense of it. The story has multiple different paths to follow but they all end up in the same place. Less a show than a television experience, it’s brilliant and exasperating.”
And what does it say about the kind of city New York is becoming? “Places like Sunshine and Lincoln Plaza are among the small delights that give New York its fizz. One by one, they are fading. It doesn’t mean the city has become a total cinema wasteland. … But knowledgeable guides to inspiring, even transformative, cinema are being squeezed out in a town steadily succumbing to real estate cold-bloodedness and gentrified homogeneity.”
Good work, Grammys, on the male side of the spectrum, with diverse nominees across major categories. But … “let’s hold off on patting too many backs. Even a casual look at the nominations reveals a woeful shortage of women up for the most coveted Grammys, which include album, record and song of the year.”
Héctor Tobar: “We need to bring the ambitions, the foibles and the soul of immigrant America into the collective American mind. And for that we need television shows and movies, and more novels, poems, paintings and songs. High art and low. We need stories told in Spanglish and Korean slang, and erudite English, and in bright and moody colors by artists who represent the sons and daughters of the African, Latino and Asian diasporas.”
Dora De Larios “singlehandedly willed her career into existence” in the 1950s. “Where others went minimal, she composed rich mosaics of intricate color and form. She created work inspired by pre-Columbian pottery and ancient Japanese funerary sculpture, yet her work felt resolutely Modern. … ‘I really didn’t care what others were making.'”
The raid on Friday ended the showings of a British comedy about Stalin. “In a Facebook post, Pioner Cinema wrote that the 2017 film, by the director Armando Iannucci, which had been playing to sold-out crowds, had been pulled as of Saturday ‘due to circumstances beyond our control’ and directed further queries to Russia’s Ministry of Culture, which had quashed it.”
The co-presidents of Fox Searchlight, winner of three Best Picture Oscars in the last 10 years, seem calm, even sanguine, about the new bosses. They cite “the streaming services that Disney will launch in two years as well as its possible majority ownership of Hulu. New streaming audiences could give Fox Searchlight releases more exposure, while Disney would benefit from more diversified content to populate its new service.”