Reviews

The full cast of Can You Feel It? basks in applause under blue stage lighting following their performance at the Asian Arts Initiative Black Box Theatre.
Photo: Nylah Jackson

Still Sitting? This Is Your Cue.

Lauren Berlin

Nylah Jackson’s Can You Feel It? Invites Us to Stand Up and Feel Something….Anything…

Dancer Aylin Bayaz looks directly into the camera as she lifts one arm above her hand, holding onto the golden tasseled bottom fabric of her dress. Her black hair is slicked back. She looks both triumphant and joyful. 
Photo: Richard Clarck

Many Acts, But Only One Dance 

Megan Mizanty

Flamenco for small cities—in person and in demand. 

Four women gather onstage, three seated and one hovering above, creating a palm-reading tableau together. They wear black-and-gold metallic sarees and ornamental jewelry that adorns the crown of their heads. The dancer whose palm is being read wears a smug smile on her face while her two friends and the palm-reader seem puzzled, hands to their chins in contemplating her fate.
Photo: Navya Sree Kupparaju

Life-Cycles: Love After Tragedy

ankita

Rituals for the masses

A black-and-white photo of two dancers in a brick-walled room. One, masc-presenting, has long curly hair and peeks out at the ceiling, mouth slightly open in expressive thought, one hand bent to touch their forehead, shielding half of their face. The other hand rests against the center of their body. A second dancer stands to their left, mirroring this pose with face tilted all the way to the sky and taut arms.
Photo: Thomas Kay

Dances from the Churn

ankita

Bodies across generations resist being silenced.

A white person with curly hair, a beard, and piercing blue eyes shows half of zir face, covering the rest with a red dome shaped hat. Pain au chocolat is stuffed in zir mouth, and zir clothes are bifurcated, much like zir face––half outfitted in red and gold, and the other half in black.
Photo: Janoah Bailin

Possibilities Within Pain

ankita

Maybe…pain can make one whole.

A large group of dancers stand closely together in a studio, their bodies tilted in unison with heads falling dramatically to one side, creating a strong visual wave across the room. They are arranged in staggered rows that draw the eye from front to back, emphasizing their collective rhythm and connection. The black floor grounds the image, while the wall behind them bursts with bold, curving black outlines and sweeping pink brushstrokes, giving the space an energetic, almost theatrical backdrop.
Photo: Jonathan Van Arneman

Flow State: Less Recital, More Revival!

Emily “Lady Em” Culbreath

A church basement party-performance

A female circus artist with a brown ponytail leans back over a trapeze and stretches her arms. She wears a shiny blue leotard and flies high above a full audience.
Photo: E. Wallis Cain Carbonell

Heartfelt Showmen

E. Wallis Cain Carbonell

“Clap! Holler! We want all the attention from you guys tonight!.”

Rhonda Moore stands with her arms outstretched in a low “V” position looking directly at the camera. Ben Grinberg stands behind her with his arms outstretched in a high “V” position looking at the camera. Grinberg wears a green sleeveless top, and Moore is wearing a longsleeve black button-down under a light-brown jumpsuit. They stand in front of a gray backdrop.
Photo: Johanna Austin

Defying the Odds and Inspiring Possibility with Almanac Projects

Caitlin Green

Grinberg and Moore demonstrate skill that flaunts their proficiency in partnership.

A dancer with braids leans against the shoulder of another dancer in a dimly lit room with a red hue. Both wear black and seem to be enjoying each other's company.
Photo: Ally Wilson

Grief Exhausted Is Made Lighter

Nadia Ureña

A turbulent exploration of how exhausting it feels to hold space.

Performers in colorful pajamas juggle neon hoops under vibrant stage lighting, evoking themes of childhood, playfulness, and simpler times.
Photo: Steve Sarafian

A Circus Family Comes Home

Lauren Berlin

Trenton’s own Black Ice Circus Debuts Growing Pains at Cannonball.