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.
While entertaining at first, Reborning, which deals with the phenomenon of hyperrealistic “reborn dolls,” progressively unveils what it means to be an artist in the 21st century.
Though its music, and use of Mapplethorpe’s photographs and texts by Essex Hemphill and Patti Smith were impressive in their own rights, the performance Triptych (Eyes of One on Another) ultimately appeared cheap, forced, and self-congratulatory.
Michael R. Jackson’s subversive sermon on the conflicted heart of a Black, queer man writing a musical about a Black, queer man details an artist’s fight against society’s expectations of what he should be.