Presenting perspectives that inform, interpret and advocate.
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Flash Response: “Marie” Houston Ballet
Sunday was probably the only day this week that I might have had a “day off” from dance. I’m currently preparing to perform in the latest Suchu Dance work which opens this Thursday so, for me, the next seven days will be intensely movement and production oriented. I didn’t take the day off, however. I
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Review: SODC Seen and Unseen
When it comes to Sandra Organ’s choreography, what you see is what you get. In titling her latest concert, Seen and Unseen, her 11th offering in honor of Black History Month, Organ has discovered a play on words that evokes shades of meaning. Perhaps the most tangible example is the inclusion of both premiere and
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New Performance Art Piece at DiverseWorks
From the website: Scott Turner Schofield Becoming a Man in 127 EASY Steps Feb. 20 & 21, 2009 8pm Commissioned by DiverseWorks with The Pat Graney Company, 7 Stages, and NPN DiverseWorks Theater (Houston, TX) Scott Turner Schofield puts his personal journey from female-bodied boy to butch girl to unrecognizable woman to man on display
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Houston’s Dance Salad Festival Draws Artists From All Over the World
Texas is known for steaks and BBQ but when it comes to dance, make sure “salad” is on the menu! Now celebrating the 14th anniversary season in Houston and 17th season since its inception in Brussels, Belgium, Dance Salad Festival promises another gathering of world-class performers. Famous in their own countries, the dance companies have
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Toni Leago Valle’s Tetris Excavates, Resonates, and Captivates
From the outset, Toni Leago Valle’s latest work is an interactive experience. Upon taking their seats, the audience may feel a box of popcorn is order as they are treated to movie clips (circa the 1980s) and trivia regarding the production’s ensemble of Houston dancers. It is a device that simultaneously puts viewers at ease
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Pat Graney’s House of Mind Adds Dimension to Contemporary Dance Art
It would probably be possible to present the choreographic elements of Pat Graney’s House of Mind on a traditional proscenium stage. An audience member could purchase their ticket, enter the theater’s “house,” find his/her seat, and watch at a comfortable distance as dancers move exquisitely about and interact with portions of a carefully constructed set.
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Nichelle Suzanne Strzepek 