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Jen C. George

Jen C. George writes out of New York City.

Light and Desire: Illuminating Anger and Transformation

On September 15, New York Live Arts opened its doors, elevators, and stairwells, and welcomed an audience into an unconventional space for an opening night performance: its third-floor studio. The front row (masked, of course) settled into cushions on the floor, as the seated rows filled behind them, ready to witness Colleen Thomas’s Light and Desire.

Endurance and Duality

Eleanor Smith and Molly Lieber continue their long-standing choreographic partnership with Gloria, a feminist exploration of objectification and reclamation, presented at New York Live Arts.

A Study of Form and Individuality

It’s opening night of William Forsythe: A Quiet Evening of Dance at the Shed, and the audience files into the spacious black box theater, nearly drowning out a gentle soundtrack of bird chirps with pre-show conversations. Per the program, we will be treated to work compiled from different time stamps along William Forsythe’s career: newly commissioned pieces (Epilogue and Seventeen/Twenty-One) stand alongside existing repertory (Dialogue (DUO2015) and Catalogue) re-worked over the past 20 years.

New Prayer For Now

Stephen Petronio Company’s program for the Joyce Theater documents the company’s growth with five new or reimagined works and makes a case for the continuation of digital dance as we move optimistically into “post-pandemic” times.

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The Brooklyn Rail

OCT 2022

All Issues