Not Just Intoxicating but Deeply Satisfying: “Sauced” at Art Produce

Happily, “Sauced” is not merely fun; it’s smart, complex, and superbly danced. Choreographers Erica Buechner, Bradley Lundberg, and Blythe Barton pack so much substance into this suite of dances—the energy and speed of a jive number, quick shifts in level and direction, engaging dramatic tableaux, seemingly effortless changes in the cocktail bar set; there’s even a bit where dancers bring drinks to the audience.

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Strong Malashock Show Features Possible Successor

To a Michael Wall score that mixes crowd noises, breaking glass, and what sounds unnervingly like gunshots, five dancers advance warily, arms raised as if to ward off an attack. … The society Griffin creates onstage feels dangerous … and like an apt reflection of the present moment, in which the show took place outdoors on a chilly evening since we’re not yet done with COVID; and with a flag directly behind center-stage flying at half-staff in honor of the country’s latest mass shootings.

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Dance Rules in “Bob Fosse’s Dancin'”

Not entirely plotless, “Bob Fosse’s Dancin'” proceeds via light story lines created by Cilento and writer Kirsten Childs. They’re a mixed bag. A scene in a swanky night club—to “Sing, Sing, Sing,” played exuberantly by the 14-member orchestra—is a delight. Costumers Reid Bartelme and Harriet Jung put the women in sparkly flapper dresses for Fosse’s signature Erté moves. Other sections, like “Big City Mime,” about a hick encountering the temptations of big bad New York, feel like jokes that go on and on, and they weren’t very funny to begin with.

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