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MOXIE’s good ‘Crumbs’ examines race through a young black heroine’s eyes
Lynn Nottage’s “Crumbs from the Table of Joy” is one of the busier plays out there amid its loaded dialogue and multiple subthemes–but even as it occasionally threatens to, MOXIE Theatre’s smart production never quite falls into the overwrought stage. Meanwhile, its young heroine trots out a maturity that marks her far beyond her years.
Read MoreSydney Dance Company Moves Like a Dream … When You Can See The Dancers
Often, during the Sydney Dance Company’s “2 One Another” at Mandeville Auditorium on Saturday, I wished I could be seeing the piece in rehearsal. I wanted to focus on the movement, free from the sometimes bombastic music and over-bright, hyperactive lighting. Sensory overload may be just what artistic director/choreographer Rafael Bonachela had in mind.
Read MorePassion and Youth Connect Across the Centuries in Old Globe The Last Goodbye
The immortal tragedy of Shakespeare’s Romeo and Juliet is enriched with the songs of the late Jeff Buckley in The Last Goodbye at the Old Globe Theatre, a respectful but robust colabortion of youthful passion that connects across four centuries.
Read MoreI’d Follow Kamchàtka Anywhere
The Pied Piper’s tune was so irresistible that rats followed it to their deaths, and the children of Hamelin skipped after the Piper into a mountain tomb. Kamchàtka exercises a similarly spellbinding – though, thankfully, not fatal – allure. Eight members of the Barcelona-based theater troupe are here for La Jolla Playhouse’s WithOut Walls (WoW) Festival. Last night, where Kamchàtka led, I followed. And the journey raised juicy questions about dissolving the fourth or possibly the fifth wall and turning theater into life.
Read MoreShakespeare your groove thing
As the disco ball spins and drinks flow, a sexed up cast recreates the tale of star-crossed lovers in a disco night club. There is simulated debauchery and the spell that makes Bottom have the head of an ass. And most notable, the audience is encouraged, nay, bewitched into disco dancing on the dance floor. This could be the campiest, most interactive show ever.
Read MoreSummer Intensives: Where dancers can shadow a Limón Doppelgänger and other inspiring artists
“In Limón, the line is balletic, but from a different principal,” he said. “You oppose constant gravity; stretch an arm in one direction, and a leg in the other. It’s classical Humphrey-Weidman opposition. The struggle makes us human. I am Mexican and male, but I live in America and share my life with a woman. Those oppositions create people, and powerful dance.”
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