“People think that she does every day movement,” says Shannon Stewart (tEEth) of choreographer Deborah Hay’s reputation “…it’s a little … Continue reading Deborah Hay Solos May Not Be Cuddly But They’re Nothing To Fear
The power of Autopsy of Love is in how close it slices to the bone, to use the evident metaphor. Byrd isn’t one to take Heine’s often florid protestations of what love is at face value. Continue reading Reviews: Spectrum’s “Autopsy of Love” & a Spotlight on Shannon Stewart
Initially, the movements are both mechanically precise and slightly cliché, Broadway-musical-style, but then the dancers start shouting out icebreaker-style questions to each other about their pasts that get a litte intrusive (“Where did you lose your virginity?”) and as answers are given, the strict cohesion falters and they start interacting with each other with more idiosyncratic movement. Continue reading Three New Works Invite Repeated Viewing at Velocity’s SCUBA 2013
Almost all of the dance works at the Next NW 2012 festival (at Velocity Dance Center through December 9) feature a movement or a tableau that seem to lodge themselves in you, like a good short story will. The six pieces are limited to 12 minutes each, so there’s a similar constraint, though you never see the same thing twice. Continue reading At Velocity’s Next NW, Dance Runs the Gamut
A cold November rain had the Kawasaki studio’s skylight sounding like a snare drum, and that and a 4 p.m. twilight conspired to bring back in a rush what was so eerie about Twin Peaks, as Stewart and her dancers took on the characters of FBI agents drinking coffee, stern and glaring older women, a traumatized high school girl. Continue reading This Weekend, Velocity Dance Has Got Next
In the studio, The FINGER Songbook brought “haunting madrigals about sex, death and produce”–multi-instrumentalist Julie Baldridge clowning musically with Queen Shmooquan’s Jeppa Hall, who clowns in every other way imaginable. From the opening ode to meat, with Hall stepping into too-large hiking boots and clomping around, the performance set a pleasantly whacked-out tone that felt positively Canadian.
Lori Hamar’s Blood Line was more serious, and a dance work that (it’s not immediately apparent) has to do with the internment of Ukrainians during WWI. Continue reading OtB’s Northwest New Works Festival, Take Two (Review)
