This boldly minimalist production — a co-presentation of FIAF’s Crossing the Line festival, the Invisible Dog Art Center, and The Cooper Union directed by Fanny de Chaillé — revisits a text written for times of upheaval.
The experimental play Manmade Earth, a co-presentation of FIAF’s Crossing the Line festival and The Invisible Dog Art Center, demanded that its audience listen to the experiences and anxieties of adolescents from around the world.
In Opening Night director Cyril Teste and actor Isabelle Adjani went to lengths to present their protagonist with psychological depth and intimacy at FIAF’s Crossing the Line festival.
From a monologue on death to a story about a police shootout, Opera Philadelphia’s productions showed us the many things opera can be.
This 24-hour performance resembled a social psych experiment designed to test our patience and desire for change.
Carrie Ahern’s Sex Status 2.0 is a performance of desire in all of its expressions — anguished, flirty, direct, sorrowful, desperate, awkward, joyous — and, as such, essential viewing.
Artist Alicia Grullon performs the role of a UN representative for refugees to address the migration crisis at the southern US border.
Through “Junkanooacome” (“Junkanoo is coming” in Jamaican patois), Jodie Lyn-Kee-Chow offers an adaptation of a pan-Caribbean festival with a parade of masked dancers.
Despite a gorgeous, impressively conducted score, David Lang’s prisoner of the state felt overstuffed, unsatisfying, and contradictory.
At the Portland Institute for Contemporary Art’s Time-Based Art Festival, performances by Mia Habib and Ligia Lewis stood out for their engrossing contributions to the ever-evolving medium.
Veteran musician Onyx Ashanti’s performance prompted larger questions of how personal, cultural works hold value in commodified spaces of leisure, excess and consumption.
In Just a Blink of an Eye, the performers lean backwards, appearing as victims of an unseen violence.