Friday, February 28, 2020

Marital burnout is no laughing matter...and yet: Sara Juli

Sara Juli in her show, Burnt-Out Wife, at Dixon Place
(photo: Nick Pierce)

Burnt-Out Wife
Sara Juli
Dixon Place
February 21-28

What a set! Designer Pamela Moulton's vision for Burnt-Out Wife, a solo performance by multi-talented Sara Juli, is lying in wait for the Dixon Place audience. And I say that advisedly, for this set is a monster, an eyesore. A cotton-candy-pink bathroom complete with polka dot toilet seat cover, a filmy pin-up girl robe with hot pink feather boa trim; and a wall splotched with wound-like flowers crafted, with childlike imperfection, out of who knows what. You gaze and wonder what Juli has in store for her unsuspecting visitors.

Burnt-Out Wife is everything that set suggests--and more. "I wanna get married...that's why I was born," sings Nellie McKay in the wry, melancholic song that ushers in this brilliant performance. Juli appears, giving the left-up toilet seat a certain look that immediately invokes the mate at fault and aiming another look at two baby dolls strewn about the floor. But if you think that tells you everything you'll need to know about Juli's project, think again.

Written by Juli, the performance draws clarity and vitality from her background in dance and stand-up comedy, and she shows ease and confidence in both genres. Marital burnout might not be first on your list of the funniest things in life, but Juli is really funny without straining and really fresh. She looks like a woman waking up to realize she's an Amazon and one with a future in performance art. She's physically strong--as you'll discover if she shakes your hand in a firm grip or strikes poses to represent the misalignment between her desires and her husband's--stronger than you might suspect from the weary look she gives the world most of the time. And she's smart as a whip, more than holding her own with the unseen spouse and her wackadoodle surroundings as she slyly, steadily lays waste to heteronormative conventions. In fact--through the magic touch of Moulton, costume designer Carol Farrell, sound designer Ryan McDonald and lighting designer David Ferri--she turns her hideous bathroom into a throne room worthy of pissed-as-hell royalty.

The surprises, joys and rewards of this show are many, and I will not spoil them for you as I hope you'll make your way to Dixon Place tonight for the final performance. But hurry! Last night's show was packed with happy people laughing their heads off.

Burnt-Out Wife concludes this evening with a show at 7pm. For information and tickets, click here.

Dixon Place
161A Chrystie Street, Manhattan


DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.


Subscribe in a reader

Friday, February 14, 2020

Reviving shange's "photograph" at Theatre 80 St. Marks

Above: Imana Breaux plays dancer Michael in a photograph/lovers in motion.
Below: Michael bursts into the mysterious life of photographer Sean,
portrayed by Adrain Washington.
(photos: Jonathan Slaff)

a photograph/lovers in motion
The Negro Ensemble Company
Theatre 80 St. Marks
February 5-19

The late ntozake shange's a photograph/lovers in motion--staged by The Public Theater in 1977--now reappears at nearby Theater 80 St. Marks, adapted and directed by shange's writer sister ifa bayeza in a Negro Ensemble Company production. A luminous revival of shange's better-known for colored girls who have considered suicide when the rainbow is enuf (1976) recently concluded its critically-acclaimed return to The Public, renewing interest in the life and oeuvre of the influential Black feminist playwright. Fans of for colored girls--and we are legion--should be wowed by a photograph's lead actress, Imana Breaux. Her vivacious turn as the dancer Michael, a free-spirited little powerhouse, rips open the show, and Breaux owns most of her scenes like a cross between Beyoncé, whom she resembles, and shange herself.

Although there's a wealth of dancerly-ness (from Breaux) and some actual dancing by other players, I wouldn't call a photograph a choreopoem in the captivating way that for colored girls is. But shange was not only a fierce writer but an exuberant dancer, and she's all over Breaux's performance with her multicolored fringes, her red suede boots, her fiery Mohawk, her hobo bag and her jazzy speech rhythms. Would that this gifted actress could have prevailed and not been subsumed by the strangely-shaped story and direction.

Michael--something brisk and cool about this male-identified, archangelic name given to shange's sexy sprite--takes up with photographer/Vietnam vet Sean (Adrain Washington) whose aspirational bravado, it turns out, fails to track with his actual professional accomplishments. Although Michael quickly falls for this strapping guy, and he for her, things seem more than a little off when Sean's photographic preoccupations and history of womanizing come to light. Three other characters complicate matters further over an unnecessarily drawn-out evening: a two-hour first act, an intermission and a second act that, although it is only about a half-hour, also seems endless and graceless. for colored girls... did not prepare me for this. I would not have expected shange to write a straight-out soap opera, let alone one filled with artificial characters who fail to inspire our concern and care. Along with Breaux, there is one performer I'd be eager to see again. Marc Deliz (as Sean's long-suffering gay friend Earl) gives an fully embodied, grounded, nuanced, quietly shining performance before events overtake his efforts as well.

I'm mindful that, for all the well-deserved love shange received when she gave us for colored girls..., she also caught hell from some folks who took her uncompromising Black feminism as a slam against Black men. Nonsense, of course. But a photograph, with its depiction of Sean (among other stereotyped characters) could be ready evidence for the haters.

Historic Theatre 80 St. Marks is tiny, and its humble intimacy can be a strength for the right show--bringing an audience close to performers in a "we're all in this together" atmosphere. That's a great opportunity that a photograph/lovers in motion is simply not able to seize.

Cast: Imana Breaux; Adrain Washington; Marc Deliz; Nya Bowman (Nevada); Mystie Galloway (Claire)

Music: David Murray
Set: Chris Cumberbatch
Lighting: Melody A. Beal
Costumes: Katherine Roberson
Choreography: Leslie Dockery

a photograph/lovers in motion continues through February 29. For information and tickets, click here.

Theatre 80 St. Marks
80 St. Marks Place (between 1st and 2nd Avenues), Manhattan


DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.


Subscribe in a reader

Saturday, February 1, 2020

How strange: Melinda Ring's engagement at Danspace Project

Cast of Strange Engagements
(photo: Melinda Ring)

Strange Engagements
by Melinda Ring
Danspace Project
January 30-February 1

Dance fans flock to see some contemporary work like a dance version of that old quip: "I would pay to hear her read the telephone book!" (Yes, kids. Once upon a time, there was something called a telephone book, and some of us professed to be willing to listen to extraordinary actors reading it, page after page...oh, never mind.) There are dancers whose technical acuity and smart, sensitive presence make almost any work an occasion. Melinda Ring has the blessings of one such team for Strange Engagements, which ends its Danspace Project run this evening.

Laurel Atwell, Paul Hamilton, Rainey White, Sam Kim and Talya Epstein--lit in various degrees of revealing starkness or sedating cool by Kathy Kaufmann--start out in a sort of hunched-over huddle before activating silent space with quirky, stretchy, wrenching and swirling movement and sounds made by the slap of a palm or a foot on the floor or the occasional eruption of a few words. What Ring and her folks accomplish most securely, I believe, is our growing awareness of rhythm even when there's no audible music to guide us. Rhythm can be seen and felt even in the absence of the sonic impact of feet on the floor or the sharp clapping of hands.

This is an abstract journey with fine, strangely-engaging dancers--strange attractors, maybe, displaying clear patterns within what a lazy gaze might deem to be chaos--and that might be enough. However, I was sometimes vexed by Hamilton's deployment in all of this. He's Ring's only Black dancer and only male dancer--a tall, dark-skinned Black man whose showiest behavior in the piece looks aggressive and, at times, could be interpreted specifically as sexually aggressive. (You can't tell me Kim slapping him on the butt while he writhes over her is abstract.) Is this deliberate? Is it unintended and accidental? All I know is you can't put your one man, your one Black man, in a mix like this and surface movement like this and not expect it to raise a few eyebrows. I found it distracting because it made me pull away and start analyzing Hamilton's presence--a strange engagement, indeed.

Danspace Project
131 East 10th Street (and Second Avenue), Manhattan


DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.


Subscribe in a reader

Friday, January 31, 2020

Can I get a witness? Viewing mayfield brooks at JACK

Performance artist mayfield brooks
(photo: Amar Puri)

Letters to Marsha with Viewing Hours (a diptych)
by mayfield brooks
January 30-February 1

In the tiny storage room, where the pungent aroma of earth and rose petals prickles your nostrils, I stand in a single line of people skirting the edge of a funereal bier covered in colorful decaying foliage. I see a bare foot sticking out from this cover, even as I hear mayfield brooks' voice on a looping recording (calling for "a witness") and tamp down a feeling of being trapped. I notice a thin, dry stalk, its end lightly poking the sole of brooks' foot, and I wonder if brooks feels it, is irritated by it. I wonder if I shouldn't pluck it away. But I dutifully stand, like everybody else, listening, looking in this solemn enclosure. Finally, I carefully--so as to not startle brooks or draw anyone else's attention--reach for the stalk and pull it off brooks' flesh.

In small groups, the audience will cycle through that opening viewing room then gradually assemble in a larger but still intimate space nicely set up to encourage comfort and seating choice. This feels more like a funeral parlor than a performance space. Merging two of brooks' works, Letters to Marsha with Viewing Hours (a diptych) is every bit as much a memorial service, a participatory ritual, a raucous channeling and a party with festive cakes (by Susannah Simpson) as it is a performance.

Attend and you will have ample time to gaze or move around the space and commune with the dead (brooks' and yours). Inspired primarily by the late Black gay activist and Stonewall veteran Marsha P. Johnson, this evening introduces us to brooks' ongoing practice of writing heartfelt letters to this role model and would-be mentor and gently suggests we take up a similar practice with our own ancestors of blood or mind.

Will you also see strong, compelling performance in this space? Oh, yes. brooks' collaborating team--a water bearer, a tea maker, a florist, a guide and various viewing hours caretakers--establishes and eases us into the fluidity of the space, but brooks rules the space and gives a master class in commitment, responsiveness, fervent aliveness.

The evening, nearly two hours of sensory richness, is well worth the sometimes frustrating task of navigating subway travel to, from and around Brooklyn. (As of last night, the "C" in C train stands for "cusswords.") Maybe just give yourself at least 15 minutes more than you think you might need to get there, then don't fret because the opening of the piece is experienced in shifts. Relax with some tea in the lobby.

Technical Director/Creative Consultant: Niko Tsocanos

Curated by Stacy Grossfield as part of her IMAGES // LANDSCAPES series and JACK's Reparations365 series.

Letters to Marsha with Viewing Hours (a diptych) continues with 8pm performances tonight and tomorrow. For information and ticketing, click here.

18 Putnam Avenue, Clinton Hill, Brooklyn
C to Clinton-Washington or Shuttle to Franklin Avenue


DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.


Subscribe in a reader

Saturday, January 18, 2020

Mariana Valencia in "AIR"

Mariana Valencia in her 2019 solo, Bouquet
(photo: Madeline Best)

by Mariana Valencia
Performance Space New York
January 9-11, 16-18

Very early in Mariana Valencia's new solo piece, AIR, she half-drops into a space of privacy with a person who has come out of the audience to sit in front of her, back turned to the rest of us, and assist her as she makes a change of clothing. You can only see Valencia's steady eye contact with this aide, who is Black, and mostly only hear Valencia's end of whatever verbal exchange might be going on, since the other person, in her few responses, is very soft-spoken. Valencia has already shown herself to be a self-possessed, warm and wry presence and continues to do so throughout this segment. So she easily holds our gaze and interest in place even though her attention is lavished on her helper. What a moment and what a performer--at once, holding us at bay, gathering us in and suspending us between worlds!

Truth be told, she had me at Lotería, the oversized, cream-colored sheet of paper she distributed to each of us (instead of the usual program notes, which we'd get on the way out) after we took our seats. Inspired by the popular Mexican card game of the same name, this sheet, printed in green, served as a clever introduction to a variety of popular culture figures of Mexican descent--from tv astrologer Walter Mercado to Tejano music star Selena to film actress María Félix--cited as major influences on Valencia's life and aesthetics. The first touch of this sheet of paper took me out of "downtown" and all that means as I believe it was supposed to do. It opened up a sense of another influx of energy, a source of creativity that is most often unknown, ignored, devalued and certainly unexpected in these climes, and that felt really, really good.

AIR asks us to consider the what-if of putting kids on stages instead of cages. Its random cinder blocks and white plastic crates suggest an environment of denial--I invite you to contemplate both uses of that word--that diminishes us all. And its prancing, spritely performer uses a droll sense of humor to persuade us how effortless it can sometimes be for marginalized people to absorb and slip into the codes of another culture--from picking up how to say "hello" in England to switching from butch to femme clothes in a Popeye's restroom on your way to a fancy wedding. It's a celebration of a kind of genius and maybe a subtle lesson for us all.

Lighting: Kathy Kaugmann
Sound Engineering: Jules Gimbrone
Music: Jazmin Romero

AIR's last performance happens at 7pm this evening. For information and tickets, click here.

Performance Space New York
150 First Avenue (between 9th and 10th Streets), Manhattan


DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.


Subscribe in a reader

Thursday, January 9, 2020

The Joyce's American Dance Platform: UBW and DCDC

Chanon Judson of Urban Bush Women
(photo: Gennia Cui)

American Dance Platform: Urban Bush Women and Dayton Contemporary Dance Company
The Joyce Theater
January 7 and 12

If it's true what they say about how viewers' mirror neurons respond when audiences look at dancers moving, and you attended The Joyce on Tuesday night for American Dance Platform, your mirror neurons likely got a serious workout. Evidence for that, from me, is how exhausted I felt the next morning as if even every toe nail and eyelash I possess were worked to max from watching Urban Bush Women (UBW) and Dayton Contemporary Dance Company (DCDC), two troupes of extraordinary physical daring and power. More evidence came from the way the opening night audience responded in the moment. I'm not talking about the expected, and justified, standing Os and rousing cheers; I mean those very Black mmmhmmms, the audible sighs, the cries, the groans and other unrestrained vocalizing that greeted DCDC dancers killing it during Abby Zbikowski's Indestructible (2018) with apparently zero fear of bodily wear-and-tear. If, in a sense, we all danced along with UBW and DCDC as we witnessed them, I await my Bessie nomination.

With the very recent departure of Du'Bois A'Keen, UBW is back to being an all-woman company. My favorite on the evening's bill (to be repeated this coming Sunday) was UBW's Women's Resistance, an excerpt from les écailles de la mémoire (Scales of Memory) with choreographic direction from founder Jawole Willa Jo Zollar and Germaine Acogny with additional choreography from eight former and current UBW members. It takes a village. And, indeed, looks like a village...of disciplined women warriors demonstrating their earth-sprung, spring-loaded battle-readiness within a sonic environment where shredding mechanical rhythms suggest both how formidable these women are and how menacing are the forces they are up against. UBW paired this ensemble with Zollar's 1989 I Don't Know, But I Been Told, If You Keep On Dancin' You Never Grow Old, which now includes segments from visible (2011), made by nora chipaumire and Marguerite Hemmings. And, yes, there is a definite connection and throughline--similar resourcefulness, ingenuity and high skill even in the midst of play that some might unwisely consider trivial.

UBW performers: Courtney J. Cook, Melissa Cobblah Gutierrez (Understudy), Jasmine Hearn, Chanon Judson (Co-Artistic Director), Love Muwwakkil, Samantha Spies (Co-Artistic Director), Elaisa van der Kust, Makaila Ware

Taking on Indestructible, Ohio's venerable DCDC--founded in 1968 by Jeraldyne Blunden and now directed by her daughter, Debbie Blunden-Diggs--was right in tune with the night's audacious mood. The main difference is, with Abby Z high-impact, daredevil choreography, neither you nor the dancers get a chance to chill. So, again, those mirror neurons.... Add occasional blasts from the electronic, industrial hip hop band Death Grips. The evening wrapped up with DCDC's excerpt from Donald Byrd's The Geography of the Cotton Field (2014) which paints, with an elegant hand, a canvas at once sweepingly abstract and epically specific.

DCDC performers: Devin Baker, Qarrianne Blayr (Associate Artistic Director), Breanna Dorsey, Alexandria Flewellen, Michael Green, Steve Lamblin, Robert Pulido, Elizabeth Ramsey, Nile Alicia Ruff, Nabachwa Ssensalo (Actress), Quentin Apollovaughn Sledge, Matthew J. Talley, Countess V. Winfrey

One show remains--this Sunday at 7:30pm--but tickets are sold out.

175 Eighth Avenue at West 19th Street, Manhattan


DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.


Subscribe in a reader

Tuesday, December 31, 2019

InfiniteBody Honor Roll 2019

Eva Yaa Asantewaa
InfiniteBody Honor Roll 2019

Top: Daniel Kaluuya and Jodie Turner-Smith in Queen & Slim
(Photo: Universal Pictures)
Bottom: Germaine Acogny in SOMEWHERE AT THE BEGINNING
(photo: Thomas Dorn)

Yes, it premiered on HBO in 2018 but, for me, My Brilliant Friend straddled those transitional days between the last gasps of December and New Year's Day when I breathlessly reached the finale of Season 1. Oh, how I love this brilliant series--as eager for Season 2 as "Lenú" is for "Lila."

Left, Gaia Gerace (as Rafaella "Lila" Cerullo)
with Margherita Mazzucco (Elena Greco),
who play the teenage leads in HBO's My Brilliant Friend
(photo courtesy of HBO)

Soon into the new year came Jane Gabriel's annual Pepatián Bronx Showcase and Conversation, this time with curation by artists Beatrice Capote and Maleek Washington. Gabriels has been producing this now for nine years. This was my second year attending, and I was even more impressed than last year. So, when the 10th anniversary comes around, you're finally going, right? Noted highlights of 2019 included works by Kayla Farrish (Decent Structures Arts), Matthew Perez and Cain A. Coleman (ColemanCollective) and Anya Clarke and Mitsuko Verdery (MICHIYAYA Dance).

I've got to acknowledge it even though I curated it: Ame-Ricana by Italy Bianca Welton at Gibney, January 10. Sorry, folx. The woman deserves the praise.

Okay, now onto the regular listings....

This Bridge Called My Ass by Miguel Gutierrez at The Chocolate Factory, January 9-19

Battle! Hip-Hop in Armor by It's Showtime NYC! at The Metropolitan Museum of Art, January 11 and other dates

Soprano Julia Bullock
(photo: Kevin Yatarola)

Perle Noire: Meditations for Joséphine by Julia Bullock at The Metropolitan Museum of Art, January 17-18

Bronxed at Food for Thought at Danspace Project, featuring works by Arthur Aviles, Alethea Pace, Matthew Perez/ColemanCollective and Richard Rivera/PHYSUAL, January 25

Amanda Seales
(photo: Lloyd Bishop/NBC/Getty Images)

Amanda Seales: I Be Knowin' (HBO), released January 26

Hair & Other Stories by Chanon Judson and Samantha Speis in collaboration with Urban Bush Women, January 31-February 9

Maleek Washington and Timothy Edwards
in Camille A. Brown's ink
(photo: Christopher Duggan)

ink by Camille A. Brown & Dancers at The Joyce Theater, February 5

Rambler, Worlds Worlds A Part by Kathy Westwater at New York Live Arts, February 14-16

Adaku's Revolt by Okwui Okpokwasili and Peter Born at Abrons Arts Center, March 14-24

United Skates (film), directed by Tina Brown and Dyana Winkler, released November 20, 2018

El Viaje by Edwaard Liang for Ballet Hispánico at The Joyce Theater, March 26-31

Entre Tú Y Yo by Soledad Barrio and Noche Flamenca at Connelly Theater, March 8-31

Sila Djiguba: The Crossroad by Les Ballet Afrik, Gibney, April 4-6

Fuck/Love: The Poetics of Adorationby Kelly Bartnik
(photo: Maria Baranova-Suzuki)

Fuck/Love: The Poetics of Adoration by Kelly Bartnik, Gibney, April 11-13

A Shared Evening of New Work by Tendayi Kuumba and Samita Sinha at Danspace Project, April 25 and April 27

Messages from Umi (work-in-progress) by Long Arms at Harlem Stage, May 2-4

EMERGE with works by Bobbi Jene Smith, Chanel DaSilva and Micaela Taylor for Gibney Dance Company at Gibney, May 2-4

Distance is Malleable, the 2018-2019 Soshitsu Sen XV Distinguished Lecture by Eiko Otake, Miller Theatre, Columbia University, May 10

Radioactive Practice (work-in-progress showing) by Abby Z and the New Utility, New York Live Arts, May 17

Surveys the Prairie of Your Room by Witness Relocation/Dan Safer at La MaMa, May 18-19

Wanda Sykes: Not Normal by Wanda Sykes, released on Netflix, May 21

Performance by Linda LaBeija in La MaMa's Squirts: Generations of Queer Performance at La MaMa, May 31-June 2

The Dances Are For Us by Hadar Ahuvia at Danspace Project, May 30-June 1

Ava DuVernay's When They See Us
(photo: Netflix)

When They See Us, directed by Ava DuVernay, released on Netflix on May 31

Pose, created by Ryan Murphy, Brad Falchuk and Steven Canals, launched on FX June 3, 2018; ongoing on FX and Netflix

Significant Others: Dances for Family, Friends & Lovers by Peter DiMuro/Public Displays of Motion at Gibney, June 13-15

Dead to Me, created by Liz Feldman, on Netflix, launched on May 3; ongoing

We're Only Alive for A Short Amount of Time by David Cale at The Public Theater, June 13-July 14

Toni Morrison: The Pieces I Am, directed by Timothy Greenfield-Sanders, released to theaters June 21

Marc Maron: Too Real by Marc Maron (Netflix, 2017)

They Ready: Tracey Ashley, presented by Tiffany Haddish, on Netflix, launched August

Black Rock Coalition: The History of Our Future, MetLiveArts at the Metropolitan Museum of Art, September 7

The Amazing Adventures of Grace May B. Brown by Souloworks/Andrea E. Woods & Dancers, Gibney, September 12-14

Unbelievable (miniseries), created by Susannah Grant, Ayalet Waldman and Michael Chabon, Netflix, released September 13, 2019

Ayodele Casel
(photo: Michael Higgins)

Ayodele Casel + Arturo O'Farrill at The Joyce Theater, September 24-29

SOMEWHERE AT THE BEGINNING by Germaine Acogny and Mikäel Serre, La MaMa Ellen Stewart Theatre, September 26-28

(re)Source by Maria Bauman-Morales/MBDance at BAAD!, September 25-28

For Colored Girls Who Have Considered Suicide/When The Rainbow Is Enuf
at The Public Theater
(photo: Joan Marcus)

For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf (choreography by Camille A. Brown) at The Public Theater, opened October 8.

Maya Beiser in THE DAY at The Joyce, October 22-27

Other Animal by Sam Kim at Danspace Project, October 31-November 2

5 St. Fifperhanway Place by Stefanie Batten Bland, performed by Gibney Dance Company at Gibney, November 14-16

Forming Out by Peter Chu, performed by Gibney Dance Company at Gibney, November 14-16

Colin Dunne in Concert
(photo: Whitney Browne)

Concert by Colin Dunne at Baryshnikov Arts Center, November 14-16

Queen & Slim, directed by Melina Matsoukas, written by Lena Waithe (Universal Pictures), released November 27

And Still You Must Swing by Dormeshia at The Joyce Theater, December 3-8

Kaalo Jol by Samita Sinha at Gibney, December 5-7

topologies by Jennifer Harrison Newman at Gibney, December 12-14

GETTING CLOSER TO CORAL by Alexander Diaz at Gibney, December 12-14

FRESH TRACKS: Anh Vo, Annie Heath, Jordan Demetrius Lloyd, Kayla Hamilton, Stuart B Meyers at New York Live Arts, December 13-14

Deep Out Agents by Hyung Seok Jeon at Gibney, December 19-21

We Wield by Lauren Atwell at Gibney, December 19-21

City of Rain (Camille A. Brown) and Busk (Aszure Barton) performed by Alvin Ailey American Dance Theater at New York City Center, December 20

The Great Hall Commission: Kent Monkman: mistikôsiwak: Wooden Boat People at Metropolitan Museum of Art, December 19-April 9, 2020

Little Women, directed by Greta Gerwig, released December 25

The Nutcracker Suite by Dorrance Dance at The Joyce, December 17-January 5

The Last Black Man in San Francisco, directed by Joe Talbot, released June 7

Okay, that's my honor roll for 2019! 
What's on yours?

--Eva Yaa Asantewaa, InfiniteBody


DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.


Subscribe in a reader

Copyright notice

Copyright © 2007-2019 Eva Yaa Asantewaa
All Rights Reserved

Popular Posts