Stephanie Del Rosso
STEPHANIE JOY DEL ROSSO is the Dance Editor of the Brooklyn Rail.
I dont remember the first time I heard Fiona Apple, but Im almost positive it was in my sisters carjust like with Radioheads Hail to the Thief,and Joni Mitchells Court and Spark, and even Outkasts Stankonia.
Walking into the Jalopy Theatre and School of Music feels a little like walking into a time capsule. Christmas lights and a red velvet curtain frame the stage. A barman sells cheap beer from behind an old-fashioned cash register.
The playwright Kirk Lynn once said in an interview that he wanted to abolish all experts in art. He loathes the energy we waste carping about our dislikes.
Collaboration as Creative Outlet
BARBIE DIEWALD, TREVOR GURECKIS, AND SUGAR VENDIL with Stephanie Joy Del Rosso
A choreographer, a composer, and a pianist in the same room might sound like the set-up for some half-baked joke. But Barbie Diewald, Trevor Gureckis, and Sugar Vendil dont intend to half-accomplish anythingnor would they solely prescribe to these titles.
Marie Chouinard performed her first solo, Crystallization, in 1978: it was an hour-long “study of geometrical movement” inside an art gallery, set to the sound-scape of musician Rober Racine scraping a metal grill.
A thoughtful, discerning and carefully compiled list of the most notable, promising and unique musical events for the month of April in New York City.
Besides a gramophone perched by the staircase, there is little trace of the antiquated at SubCulture, NoHos latest underground performance venue. The whole place has a squeaky kind of newness to it, perhaps because it opened its doors a mere two Septembers ago,
Since they began collaborating in 2003, Brennan Gerard and Ryan Kelly have produced interdisciplinary work using dance, writing, and visual art to reframe perceptions of queer consciousness, complicate relationships between performer and viewer, and explore our collective memory.
IT'S JUST THE CHOREOGRAPHY THAT SOMETIMES GETS IN THE WAY
ANNIE-B PARSON with Stephanie Joy Del Rosso
It is a clichéd New York art world complaint: no one is doing anything interesting anymore. Everything is insular or redundant. And while such blanket dismissals are unproductive, the tenor of the criticism is sometimes accurate. Annie-B Parson kicks these grumblings forcibly and ingeniously aside.