David Parsons Dance at the Joyce Theater
by April GreeneDance
Case in point: David Parsons. In his 23rd year with Parsons Dance, the choreographer, performer, and producer remains credible and popular. Last month, the company wrapped up their annual New York season at the Joyce Theater, performing a retrospective of pieces spanning, in time, more than a quarter century of Parsons’ work and, in character, the stunningly original to the simply adroit.
Act Now: A Variety Show Review
by April GreeneDance
“We can give each other love in lots of different ways,” said Julian Fleisher. “I guess.” The off-Broadway crooner, writer, producer and tight vest-wearer was an apt co-host for Act Now: A One-Time Only, Pre-Election, Anti-War Call-to-Action and Variety Show! at NYU’s Judson Church on January 18. Fleisher, typically cheeky and aloof, joined earnest dancer and performance artist Lucy “The Factress” Sexton in introducing and filling the gaps between nearly a dozen political, comical, and spiritual entertainers at the Love Everybody Movement’s most recent event. Founded in 2001 by political activist Heidi Dorow, Love Everybody produces one-off events designed, according to her blog, to “promote love, fun, and community for both participants and viewers.” In this spirit of open egalitarianism, some acts sizzled and others only simmered.
Virginie Marchand's Telegram
by Benjamin TrippDance
Telegram came as the prodigious finale of French dancer and filmmaker Virginie Marchand’s three-year project honoring the work and inspiration of Japanese Butoh dancer Kazuo Ohno. The film was projected as Marchand performed at the Emily Harvey Gallery in December in celebration of Ohno’s 101st birthday.
Not The Same Solo, Adaptations of Deborah Hay's Solo News
by Carley PeteschDance
Her movement phrases were sporadic and small considering the space she inhabited, but like Thompson’s, they were controlled and energetic. She kicked her leg up with ease and moved around herself with stability. Thurrell ended up lying prone on the pile of chicken wire, with her lower legs crossed as if in playful thought—one of the resonating physical similarities across all three interpretations.
