Abrons Arts Center Presents “the horror the horror”
March 27, 2011
From March 31st through April 2nd, Abrons Arts Center will present the horror the horror (I have plenty of energy to drive over there), created and performed by Madeline Best, Shaun Irons, Lauren Petty, and Brian Rogers. In a review of the work, which premiered at the 2010 Movement Research Fall Festival, Gia Kourlas of The New York Times wrote, “It was another side of horror, American-style.”
the horror the horror is a fully improvised live sound and video performance spectacle. Seamlessly incorporating live and processed imagery, electronic and acoustic music, and audio sources ranging from Mel Gibson to Marlon Brando to Charlie Sheen’s recent tirades, the horror the horror will use multiple large scale video projections, surround sound, and the exposed proscenium of the Playhouse to spin a gothic meditation on American pop culture and the personal obsessions of madmen.
Tickets are $15 and available at Abrons Arts Center’s website. Tickets are selling fast, and are only available in the Playhouse balcony.
Fuerza Bruta: Meaningless Sights & Sounds
June 20, 2010
courtesy of Fuerza Bruta Press
For nearly three years, I walked past the Daryl Roth Theater every day on my way into work and reminded myself that I should see Fuerza Bruta, the show by Diqui James that originated in Argentina and has been performed at the Roth since 2007. Last week, I finally saw this fragmented, mindless spectacle. I’m glad I did, because now I can honestly tell others who are considering seeing Fuerza Bruta (Brute Force, in English) that they can skip it, unless they’re entertained by one or more of the following:
-Being herded around and told where it’s permissible to stand, which to me, does not qualify as audience participation
-A club-like scene with predictable visual stimulation, techno music, and mediocre choreography
-A man endlessly running on a treadmill who gets violently shot in the chest (don’t worry, he lives), without ever learning why or from what he’s running
-Performers who repeatedly smash Styrofoam over each other’s heads
-Jumping up and down while a DJ, looking ridiculous in a George Washington wig, sprays you with a water hose
courtesy of Fuerza Bruta press
The plot-less performance, which mainly took place overhead while the audience stood on the floor for the duration of the show, strung together special effects and a few technical feats set to a constantly thumping beat. The most original section involved a clear pool that descended from overhead until it reached just above the audience’s heads. Four female performers splashed around, slid in diagonals across the pool, and made rippling designs with the water. This went on for far too long, and though the performers looked like they were having a ball, it became irritating to stand and watch without being invited to join the fun. Perhaps this was why Fuerza Bruta was so unsatisfying. The performers were having much more fun than the audience, and sadly, jumping up and down didn’t transport us into their world.
I have immense admiration for the creative team – for their ability to come up with some of the more intriguing concepts – and especially for the hardworking crew members who directed the audience and ensured that the show ran smoothly. But I pity the myriad tourists – and handful of New Yorkers – who are impressed by Fuerza Bruta and view it as well-crafted art. In truth, it’s one-dimensional, uninspiring entertainment.
Like this:
MADE HERE Screening
June 16, 2010
MADE HERE is a documentary series and interactive website dedicated to exploring the challenging and eclectic lives of New York City performing artists. On Monday, June 21st, from 6:30 to 8:30 PM, there will be a screening of the episode DAY & NIGHT JOBS and a discussion moderated by Jennifer Wright Cook, Executive Director of The Field.
For the issue of DAY & NIGHT JOBS, MADE HERE explores performing artists and the myriad things they have to do to support their art.
Screening, lively conversation, and refreshments will be held on Monday, June 21st, 6:30 PM at The Chocolate Factory, 5-49 49th Avenue, Queens.
Event co-hosted by HERE and The Chocolate Factory.
Space is limited. Please reserve by Friday June 18th by emailing rsvp (at) madehereproject (dot) org
Alwin Nikolais Centennial Celebration
April 29, 2010
The Abrons Arts Center at Henry Street Settlement is celebrating the centennial of the birth of Alwin Nikolais, a visionary choreographer who has captivated audiences with his use of multimedia technology and mesmerizing use of movement, lighting, and sound.
On April 30th, the Centennial opens with a one-night only performance of From the Horse’s Mouth: Remembering Nik. This celebratory “live dance documentary” will be mounted by over thirty outstanding dancers and choreographers each telling their personal story about this renowned choreographer, and perform movement from his work.
The following two evenings, May 1st and 2nd, are dedicated to Homecoming. The Ririe-Woodbury Company will present the iconic Noumenon (1953), Kaleidoscope (1953), and Imago Suite (1963). Revisiting Nikolais’ legacy as a beloved teacher at the Henry Street Playhouse, students from the Abrons Arts Center Dance Ensemble will perform the audience favorite Tensile Involvement (1955).
The Centennial continues at The Joyce Theater from May 4th through 9th, where the Ririe-Woodbury Company will re-mount Nikolais’ later works in contemporary dance, Liturgies (1983) and Crucible (1985), and “Tower” (1968), the third section from Vaudeville of Elements.
Tickets to performances April 30th through May 2nd at Abrons Arts Center are $15, $10 for students and seniors, and $100 for patron seating. For more information, visit Abrons Arts Center’s website or order tickets by calling 212.352.3101.
Tickets to performances May 4th through 9th at The Joyce Theater start at $10 and can be ordered online or by calling 212.242.0800.
The Rail is Here! For Real.
February 4, 2010
The February issue of The Brooklyn Rail is now online and in print. The dance section is packed with good stuff this month: Thom Donovan’s review of choreographer Miguel Gutierrez’s performance texts, Mary Love Hodges’ spotlight on The Tank, and Joey Lico’s review of Dancers Responding to AIDS’ Dance from the Heart: Men, among several others. I reviewed a performance from last month’s AMERICAN REALNESS festival, which included a showering of plastic bags, references to Lady Gaga, and the most elaborate dress made out of disposable coffee cups that I have ever seen. Enjoy!
