MICHELE TANTOCO

Two of several performers who spend some time on the floor during Michael Kiley's music-movement "experience" Close Music for Bodies. Photo by Adachi Pimentel.

CLOSE MUSIC FOR BODIES (Michael Kiley): 2017 Fringe review

Anyone who has sung around a campfire can attest to the power of music to elicit feelings of closeness

Photo by Michael Bartmann.

PORTAL (Leah Stein Dance Company): 2016 Fringe review 79

the rich layering of performance capacity matched the layers of movement space that Leah Stein’s PORTAL attended to

Photo by Sharon Torello.

TURBINE (Leah Stein/ Mendelssohn Club): Stein’s water-dances power the Water Works

Greek revival structures and riverscape environs inspire an immersive choral-dance work that explores the specific interplay of machinery and nature.

Photo by Johanna Austin, AustinArt.org.

DUST (Megan Bridge/FringeArts): All we are

Evidence of life. Enemy of the domestic goddess. Culprit of hay fever. The stuff we’re all destined for. DUST has connotations both mundane and eternal.

splice-leah-stein

SPLICE (Leah Stein Dance Company): Fringe Review 84

In SPLICE, a single flat wave of board whoops its way through the Leonard Pearlstein Gallery, which consists of about four rooms, vaguely defined by false walls.

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Modern dance DNA is Childs’ play

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.

Adjacent Spaces by Leah Stein Dance Company Fringe

Fringe Preview: Architectural dance alchemy, Adjacent Spaces by Leah Stein Dance Company

Published by The Dance Journal. Reprinted with kind permission. Leah Stein has had a very prolific year performing and choreographing with several projects overlapping, including the first revival of her…