In its first performances since 1965, the recent Performa revival of Rainer’s Parts of Some Sextets prompts considerations of how we can safeguard the choreographer’s visionary oeuvre while staying true to her vision.
The strength in LaBeija’s Performa debut comes from her ability to use Oskar Shlemmer’s Bauhaus ballet as an outline, while organically combining the talents of people in her community.
In its best moments, Radio Live made the world feel smaller with rich vignettes from lives we might have little intimate access to.
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.