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Brooklyn Academy of Music

Cyrano de Bergerac

April 19, 2022

Playwright Martin Crimp, an adherent of the ”in-yer-face” school of British playwriting, has taken Edmond Rostand’s turn-of-the-last century verse drama, Cyrano de Bergerac, and not only blown off the cobwebs but exploded it into an entirely new 21st century experience. Staged by innovative director Jamie Lloyd, it has become a showcase for titanic Scottish stage and screen actor James McAvoy making an unforgettable New York stage debut in the title role as the 17th century poet and soldier. [more]

The Medium

March 22, 2022

Who knew that Marshall McLuhan was such a nut?  "The Medium," a dance-theater work conceived and directed by Anne Bogart puts McLuhan through her particular way of combining dance and words and the outcome was silly and brilliant at the same time. First performed in 1993, "The Medium" was revived at the Brooklyn Academy of Music's BAM Fisher where five members of the experimental SITI Company were put through their manic paces attempting to explicate the McLuhan’s “medium is the message” philosophy in a series of pointed, surreal skits. Bogart updated the media references to include all the electronic/internet variations. [more]

Four Quartets

February 14, 2022

In her selection of the movements and structure of "Four Quartets," Tamowitz chose to ignore the depth and imagery of the poems, producing a cool Merce Cunningham-like ballet that glided along beautifully on the surface of Eliot’s heavy, sometimes distasteful, imagery.  Movements were balletic, full of arabesques, skittery connecting steps, soft leaps and jumps. She built the work upon a series of steps and phrases that are repeated in various ways: jumped, turned, performed alone, performed in unison and performed in reverse.  One salient image was that of a dancer jumping into the arms of another.  Other than that there was very little touching.  The barefoot dancers often mimicked each other or performed side by side.  Only two duets occurred, one quite long near the end, watched by the other cast members gathered at the corners of the set. [more]

The Hard Nut

December 22, 2015

"The Hard Nut" is certainly beautiful to behold, its production design based on the work of Charles Burns whose graphic novels feature vividly surreal and haunting images. But, it’s also frustratingly erratic—slow at some points, confusing in others—and shtick-laden, with silliness too often overriding beauty and romance. The brilliantly witty sets and inventive costumes by Adrianne Lobel and the late Martin Pakledinaz, respectively, are totally in synch with Morris’ wickedly camp mentality. Indeed, they are a show in themselves, beautiful and witty in equal measures. [more]

Circa: Opus

November 12, 2015

The sobriquet “tricks” is probably not a fair or adequate description of the acrobatic feats these fourteen gymnasts displayed. Their tours de force included: balancing upon each others’ shoulders like giant totem poles; forming arches in backbends upon which others balanced; hanging precariously from ropes and stretches of cloth; and forming impossibly balanced sculptures. They hung off each other. They rolled on the floor and on each other. They formed lines and circles that communicated a certain sense of communal camaraderie, but little else. Gender didn’t seem to matter: women did as much lifting as the men. [more]

Cedar Lake Contemporary Ballet: Program A 

June 9, 2015

The Cedar Lake Contemporary Ballet has had the good fortune to have had financial security during its twelve-year existence; that is, until this year when its patron withdrew her support. The troupe’s short season at the Brooklyn Academy of Music was its swan song, but a spectacular one. Alexandra Damiani, CLCB’s artistic director, assembled two programs, the first of which I attended. It was typical of the work identified with the company: slick, technically demanding and impeccably danced. [more]