A cast of incredible movers highlights the long-term success of the company and range of the work they present.
An intricate show with a captivating journey maintained with ease through each scene.
femme. collective has interwoven disparate acts to form a cohesive whole, a gorgeous string of solo, duet and group dances that tackle that, yes, underrated act of talking to oneself
A highly experimental, improvisational, and fascinating Fringe performance
An exploration of divorce and disconnection in the California desert.
Consider the speculum a tool for looking inward in more ways than one.
Bridging the gap between dance and physical theater, CARRIED AWAY delivers an exciting, heartfelt, and stimulating crowd-pleaser.
A testament to what Fringe can do: defy genre, defy theme, defy medium, and somehow still manage to be cohesive and emotionally haunting
Colombian choreographer and director Luis Garay brings Maneries, performed by (and created for) the fiercely captivating dancer Florencia Vecino, to FringeArts April 14-16, 2016
Addressing the issues of immigration and acceptance, Kun-Yang Lin/Dancers utilize dance and theatrics to explore the meaning of home.
This hour-long dance work explores the movements of water, both inside the body and surrounding us.
Staging a Happening used to be straightforward. To jangle the audience out of the role of The Observer, you redefined art from what-I-the-Artist-do-up-here into what-is-happening-between-you-and-me. You and the audience would…
The action in COMMUNITAS could be best described as four people taking turns carrying one another around a space, then falling off, then swapping who carries whom. In a way, it is structured around a continual exploration of ways to make two or more people into one. Balance is challenged not by standing on a tight rope, but by joining two bodies at a single point and leaning precipitously apart; disassemble and repeat as necessary.
Six audience members isn’t an empty house; that’s the full load for Nichole Canuso Dance Company’s THE GARDEN. The basement below us is an expansive concrete stretch, a network of small rooms and squared pillars, and we’re sent down into a smallish room scattered with chairs. We’re invited to sit wherever we like.
The retrospective of Judson Church choreographer-dancer Lucinda Childs’ SELECTED DANCES, 1963-78 last week was instructive and artistically purposeful. This work is still so vibrant in its exploratory nature that Childs’ innovations are part of the evolving dance stream.