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“I listened to Vivaldi’s music for six months, and I couldn’t imagine a piece,” said Cohan,” but finally at sunset I knew I could choreograph it. The mother stands at the cross weeping…it took me months and I worked with Kate. It’s formed mathematically, and we have to make it meaningful. Dance is an extreme form of movement language.”
When we had to do a movement phrase crossing the floor, I started to think that being onstage was a very bad idea. This year’s Live Arts Fest offered not just a look at dance legacies, but actual somatic experience. Plus a lesson that choreographers age incredibly well … Bella Lewitzky started her company at 50 and led it for 30 years; and Robert Cohan, whom the little festival that could brought from London, showed a fresh new work he’d created at 90.
Farce is a major driver within the theatrical literature, and for better or worse, it’s been that way for centuries. North Coast Repertory Theatre is mounting yet another one, called ‘Unnecessary Farce’ — and its culture of ensemble makes a decided argument in the genre’s favor.
Ruben Valenzuela’s Bach Collegium San Diego gave a robust performance of ‘La Resurrezione’, a little known and quite early Handel work (from 1707) that revealed him to be an adventurous—dare we say avant-garde—experimenter of the 18th century . . .
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