Reviews

Photo: Mike Hurwitz

Germaine and Rosario: Percussive Languages

Lynn Matluck Brooks

These two powerful, petite women dance face to face, side by side, back to back, and, at times, as one another’s shadows.

Photo: Johanna Austin

Scratch Night Returns

Ellen Chenoweth

Three moments during Scratch Night stood out in their intensity or departure from predictable performance customs.

Photo by Kat Muscinesi

Pitter Patter

Lisa Bardarson

"I heard subtleties in the footwork that shoes would have obscured making this piece more about listening and less about sound."

Photo: Johanna Austin

Egg Cartons, Cotton Candy, and Living Sculpture

Libby Rush

The invisible wall between viewer and performer is broken; the viewer given an active voice.

Photo: Alexander Iziliaev

BalletX: A Winter Valentine

Kalila Kingsford Smith

Perfect confection for the lover's holiday, performed with love in the mind and body--coy, seductive and intimately close.

Photo: Zornitsa Stoyanova

Quick Takes-“THEN”

Megan Bridge

TD writers are polled for quick takes on Group Motion’s performance of "THEN" by Susan Rethorst.

Photo: Kelly & Massa

Poetry, Oppression, and Opera

Lynn Matluck Brooks

The dancing of the Antonio Gades Company punctuates Opera Philadelphia's "Ainadamar" with dynamic range.

Photo: Bill Hebert

Episodes of Junk

Lynn Matluck Brooks

Luna had a way of making the showy encounters with objects approach poetry, particularly in “The Grid,” a solo with what appeared to be a discarded window frame...

Photo: Dieter Hartwig

Public in Private vs. Private in Public

Eleanor Goudie-Averill

We live in a world that is both our living room and our soapbox. These two works--Allege and Singer/Songwriter--engage in the constant conversation between public and private.

So, Grandma Sets You Up on a Blind Date…

Becca Weber

It stands to reason that pairing grandmothers and creative types would result in a match made in heaven.