Of lollipops and symphonies: Black Grace perform brilliantly in their new work.
Whim W’him’s Crave More is a program of four dances with quite different thematic approaches. Overall the program is strong, but I have some reservations.
Fire! is a beautiful piece that is complete within its limitation, but I am not sure the limitation is final. I am not sure Ms. Cabeen is done with Niki de Saint Phalle–or perhaps that Niki de Saint Phalle is not done with Ms. Cabeen.
In the middle of an intense and challenging tech week, Koch was kind enough to provide some insights on collaboration in dance, choreography, and his version of Rite of Spring, which promises to be exciting on a number of levels.
As with all of UMO’s productions, one particularly needs to forget the brand of kitchen sink realism that is often presented on our stages. Instead, in order to begin appreciating it, what is required is an openness of the senses, an awareness of what’s transpiring onstage, and let meaning appear cumulatively after the fact.
Part 3 of The Working Artist series featuring dancer Paige Barnes. Wherein Omar Willey discusses the role of the artist in society with bits of poetry.
Ms. Barnes has been popping up everywhere lately: From Vanessa deWolf’s Score for an Unrehearsed Ensemble to impromptu events at Kaleidoscope Vision and Danse Perdue, she has shown a penchant for keeping busy. Still, she always returns to Open Flight Studio, which she co-founded in 2002-2003. I caught up with Ms. Barnes at Open Flight Studio in rehearsal for her new dance work, Lead Bunny.
There are scoffers in the community who believe that artists do not do any real work. Paige Barnes’ life and career offer a perfect rejoinder to this sort of nonsense. She is as devoted to her community as she is to her craft and her creativity, in ways that those who do “real work” only wish they could understand. In spite of all her hard work and her innate genius, Paige Barnes remains a virtually unappreciated artist in a town that is known for failing to appreciate its working artists.
José Amador sat down with deWolf to discuss her project for NWNW, Score for an Unrehearsed Ensemble, and define her usage of the word “score”, figure out the first impulses behind her latest project, and compare the act of performative improvisation to following a meatloaf recipe.
How does one get into aerial arts, anyway? It is no secret that one of the great problems of the performing arts is creating continuity. Not only continuity of style, and not only continuity of tradition, but also continuity of knowledge among practitioners as well as among audiences. For quite sometime in Seattle it has been fashionable among theater artists to talk about educating their audiences. The goal is noble but difficult.