New tickets available for Charles Smith's My Arm is Up in the Air Mar 23, 2011

by Jessica

We have just released new tickets for this weekend's performance of My Arm is Up in the Air, meaning that the previously sold out night are now available!

Get your tickets now. The news is so fresh that we're still waiting for our ticketing site to refresh with a link, but you can call 206.217.9888 to snatch up a ticket in the meantime.

[Photo by Basil Harris]

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4 New Films at OntheBoards.tv! Mar 23, 2011

by Monique

 

We're thrilled to have launched 4 new films in the past 2 weeks.  Check them out at OntheBoards.tv.

Ralph Lemon

How Can You Stay In The House All Day And Not Go Anywhere

Watch the trailer | Watch the film

Pat Graney Company

Faith | Faith Tryptich Part 1 

...

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Catherine Cabeen leads a tour at SAM this Friday Mar 16, 2011

by Sarah

Catherine Cabeen will be leading a My Favorite Things tour at SAM this Friday, March 18th, from 6:30-7:00. Catherine bills the tour as "highly opinionated" tour that looks at the intersectios between the visual and performing arts. It should be a great precursor to her show Into the Void at OtB this April. For more info visit SAM's website

 

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Daylight Savings Time! Mar 13, 2011

by Tania Kupczak

Don't forget to set your clocks ahead an hour today. We'd hate for you to miss the start of the show tonight.

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Devotion reviews Mar 11, 2011

by Jessica

Here's what Seattle critics are saying so far about Devotion:

'Devotion' conveys emotion, faith, personal history, and primal love - Alice Kaderlan, Crosscut

Sarah Michelson Spurs 'Devotion' at On the Boards - Michael Baker, The SunBreak

'Devotion' is unlikely to make dance lovers devotees...

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We Are Released Mar 11, 2011

by Lyall

Sarah Michelson has said that experiences and the unknown are more important to her than explanations, but while Devotion, her new and brilliant piece, arrives at something like math-based bliss, the first part of it is a long spoken text with a soloist: a contemporary re-telling of the story of the Garden, the Explusion, Adam and Eve making babies up to age 900, Mary, the author’s mother. I didn’t look at the program until I left the theater so I didn't know as I watched that the first dancer who comes out, in a white t-shirt, white shorts and white gym shoes, and who sprints and spins, lunges and hunches in repeating motifs for a half hour, illustrating and not illustrating the text, is Spirit of Religion. (Other characters are Mary, Jesus, Adam and Eve.)

The narrative is delivered in the disembodied voice of planetarium narratives, and it’s the weakest part of the evening. Eventually, jump-cutting to the story of Mary, it...

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on Devotion Mar 11, 2011

by Tonya Lockyer

There is singularly nothing that makes a difference a difference in beginning and
in the middle and in ending except that each generation has something different
at which they are all looking. By this I mean so simply that anybody knows it that
composition is the difference which makes each and all of them then different
from other generations and this is what makes everything different . . .

–Gertrude Stein, Composition as Explanation

1.
Be warned: Lane and Sarah say that Sarah said that words can “ruin the spell that allows seemingly disparate parts to unify on stage.” Be assured: Underlying the use of fragmentation is a faith in the interdependence of all things.

2.
Sarah Michelson and I both studied at the Cunningham studios in the early 90s. She was lush, outgoing, outrageous and seemed to be having more fun than the more obedient Cunningham acolytes. Watching Devotion I thought about how Merce’s ideas...






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Devotion Mar 11, 2011

by Eric Pitsenbarger

Devotion is evident in the details of this abstract rendering of life itself. The stage is an installation of galvanized support pipes, lifting and framing in reverence several exquisite formal portraits (Sarah & Richard?), held on high and lit with a shipyard's worth of arc lights. Enough  light to illuminate a stadium. All bundled, bunched, dangling and clustered from the rafters, gathered like sculptural pieces; imposing large bulbs though not all switched on, look rather like metal flora growing from the framework. Their presence marks a certain awe and when they do get turned on (at one point even more lights get wheeled in), the stage and dancers burn under almost blinding radiance...audience members whipping out programs to fan themselves. The sheen from the glossy oil painting's surface reflecting every lamp. Flying sweat and shrunken pupils, heaving chests...these dancers are made to perform under extreme conditions. The effect is of a gallery / sports...

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