Jen C. George
Jen C. George writes out of New York City.
Light and Desire: Illuminating Anger and TransformationBy Jen C. George
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 Thomass Light and Desire.
Endurance and DualityBy Jen C. George
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.
Judo and Balance and ImbalanceBy Jen C. George
Promotional materials for the NYC premiere of Bereishit Dance of Koreas Judo and Balance and Imbalance at NYU Skirball depict the themes for these works as expansive, nearly to the point of meaninglessness: street dance, martial arts, opposition and harmony in relationships, sports, and the transcendence of violent urges.
A Study of Form and IndividualityBy Jen C. George
Its 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 Forsythes 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 NowBy Jen C. George
Stephen Petronio Companys program for the Joyce Theater documents the companys 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.