Excerpted from thINKingDANCE.net.
Upon entering the dark, intimate AUX space for Meg Foley’s first DANCE IT OUT (a new series she is curating), the crowd made chatter from their seats along the sidelines of a room adorned with a diamond of red-orange daisies and rusty railroad-tie nails meticulously laid out in a row upstage. Soon, performers Michelle Tantoco and William Robinson entered, wearing white tops and light khaki shorts–their black sneakers in stark contrast to their attire…Here, Shannon Murphy’s Parade of Traces, I sensed something visceral and physical. The work was so aesthetically driven—long lines, pointed toes, and very clear gestures—amid sloppy writhing and clunky bodies dropping to the ground….
Also on the bill was Sebastian’s “I Am Because I Am,” a hyper-sexy drag performance that raised issues of gender and power, intelligently balancing projection with the male dancers’ personification of feminine sexuality and objectification as they strutted in high heels, bent over, and tossed their long locks. Lastly, a “Dance Break” presented by Foley and Carmichael Jones complete with black light and tequila shots in between pieces added to the sense that this evening was more than a traditional performance–it was a wild night out…. Read the full review on thINKingDANCE.net.
October 12, 2013, voxpopuligallery.org.