Kidd Pivot Improvisation Class | Mar 16 Feb 24, 2016

by Erin

WED |  MAR 16, 2016 | 6:00-7:30pm
On the Boards
(100 W. Roy St. Seattle, WA 98119)
$15 – reservation required at link below

What: Kidd Pivot's improvisation class focuses on discovering and revealing articulations and timings in the body. The class begins with a warm-up as participants articulate deeply through the body in stages, starting from the spine and working towards the extremities. Participants work at their own pace, exploring kinetic relationships both within their own bodies and to the space around them. The class is explorative and non-performative: its focus is on the play between analysis and instinct, and the use of improvisation both as a tool and an experience.

Who: Early-to-mid career artists making their own movement-based work. Choreographers, directors,...

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Dana Michel on her Artistic Process Feb 22, 2016

by Erin

‘I’m interested in seeing, yeah, what is the result of difficulty and danger? …and it’s fun.”
Watch choreographer Dana Michel at the American Realness Festival on her artistic process and the making of Yellow Towel.

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"Barely Moving, But Communicating Volumes" - Dana Michel in the New York Times Feb 22, 2016

by Erin

photo by Ian Douglas

The Canadian performance artist Dana Michel is a real original, peculiar to the nth degree and remarkably compelling onstage. She scarcely dances; she scarcely speaks; her manner is oblique. It would be easy to make what she does sound ridiculous. Yet no sooner does she take the stage than she creates a complex world. She’s doing a singular form of acting, and we’re caught up by the strangeness of both her outward behavior and her character’s private thoughts. For me and others, she was the one important discovery of the ...

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JULIA performance review Feb 17, 2016

by Isabella L. Price

When I came into the theater to grab the seat that I had reserved for myself earlier in the evening, it was taken. Laughing, white faces were sitting in my seat, and instinctually I knew not to raise a fuss, to find a seat elsewhere. When I looked around the only people willing to let me sit with them, were the only other black people in the crowd.

This is everyday life for me. I know my place, especially in white spaces. I know not to fight for myself and not to call people out, even when they offend me. This is the life of someone who feels like an outsider, of someone who is just trying to make it by in a space they don’t feel entitled to, this is something that for many white people, goes unnoticed. But for the sake of Julia we delve directly into it.

Going into Julia I thought I knew who I was going to identify with. The play being an adaptation of August Strindberg’s play Miss Julie, a much...

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Performance Review: JULIA Feb 15, 2016

by Amber Candelaria

August Strindberg‘s play “Miss Julie”, written in 1888, is a story of the walls that exist between people. The walls between the young and wealthy Julie and her father’s valet Jean are palpable. Unlike so many upstairs downstairs stories, this story makes no attempt to break down these walls. Misogyny, racism, and classism are fiercely clung to. There's no sympathy, only lethal attempts to dominate. The actions and words between the two main characters, taking place in a single night, illustrate that these wall may appear to move but they can never come down.

This theme is explored beautifully in “JULIA”, a modern interpretation from Brazilian artist Christiane Jatahy. The staged production includes filmed portions and live video which plays with even more walls. The filmed sections show us other characters but keep them at a distance and a camera man follows the actors adding a sense of realism whilst simultaneously exposing the theatricality.

The piece even...

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Is it real? Is it still a show?: My date with a stranger for Christiane Jatahy's Julia Feb 15, 2016

by Tessa Hulls

If you're going to watch something gut-punchingly devastating, is it better to know ahead of time what you're getting yourself in for? I deliberately go into performances at On the Boards knowing as little as possible about each show, but as I sat with Anna Herby, my date with a stranger for Christiane Jatahy's JULIA, and watched an underage, softly-weeping rich girl get fucked from behind by the servant she forcibly seduced by means of exploiting the power of her position as the boss's daughter, I wondered if perhaps I should have given Anna more of a heads up that we might see something really uncomfortable.


Anna came upon my ongoing social experiment (to quickly summarize: I take a total stranger who has never been to On the Boards to go see a show, and then write about the experience) by way of our mutual friend, Sara Edwards. Sara and Anna are both committed long-distance hikers, and they met last...

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"A Dazzling Contemporary Take on Strindberg" - Seattle PI reviews JULIA Feb 14, 2016

by Erin

photo by Marcelo Lipiani

Alice Kaderlan reviews JULIA at

There is only one problem with Christiane Jatahy’s Julia, her inspired adaptation of Strindberg’s Miss Julie now at On the Boards. Jatahy’s multi-media play has so much to look at – huge video projections, live action and Portuguese subtitles – it’s sometimes hard to decide what to focus on.

Watch the compelling video, much of it projected by a live-action camera, which gets into places the audience can’t see, and the intense interactions...

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Review: JULIA by Christiane Jatahy Feb 12, 2016

by Juniper Shuey

The performance at On the Boards, JULIA by Christiane Jatahy this weekend is a thought provoking, well considered, contemporary work.  It tackles class, race, sex and all the isms you can think of between them all.  It is done masterfully using the mediums of live theater, film and breaking the fourth wall.  It is a journey through emotions and belief systems of each individual audience member. 

The beauty of this work is that shifting dynamic that happens on stage, on film, in real life and in the minds of audience is both obvious and surprising.  I felt I was being asked about right and wrong and how these beliefs feel justified.  But then the power dynamic would shift and my belief of how I would deal with the situation shifted.  All the players in this performance, including the audience, are situated together in this work, we all are right and we all are wrong.  We...

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