The fifth concert in the series happened on Sunday afternoon in the rehearsal room over Memorial Day weekend.
Photos by Chelsea Williams and Nancy Guppy.
Scroll down for piece sources.
Sources used in piece:
Serge Gainsbourg, My Lady Heroïne; American Shape-Note Hymns, Span of Life; Steve Earle, It Doesn't Get Any Lonelier Than This; JS Bach, ...
by Charles Smith
Did you know that the first show presented at On the Boards, Shelly and the Crustaceans, was a benefit to help fight Anita Bryant’s Save Our Children campaign which was spreading hate across the country in the late seventies? This nine minute KCTS documentary, The History of Gay Rights in Seattle, chronicles the local struggle from 1893 – 1978. The fight against Bryant and Initiative 13 starts around 4 mins!
by James Holt
Lucy Lee Yim: You had me at “looped breakdown drum beats.” Andrew Hallenbeck: An interpretation of Sleeping Beauty that, ironically, Tchaikovsky probably would have loved (or at the very least appreciated). Bianco & Friedman: I think I love the hazmat-guy, too. Dani Tirrell: Poetic. Honest. MascallDance: Beautifully abstract. Adriana Hernandez: More, please. Tim Smith-Stewart: Finally, an existential crisis I can relate to. PE|Mo: Like the dissection of an annotation of the anatomy of a moment.
James Holt is a 14/15 Season OtB Ambassador
by Vanessa DeWolf
Two perspectives of our current times.
One dark and with a sense of disconnection
The other light and full of grand scale hope
Northwest New Works often surprises me in it’s prescience.
Each year the festival rolls around and I wonder how will the work
affect me? This year I feel threads that pull me in different directions
so profoundly represented in the differences between the two weekends
mainstage shows. I identify my own inner battle with a deep sense of
disconnection & isolation alongside waves of bright growing and grand hope.
It is in the light the figure and the branches of a tree merge and emerge. The space contains a kind of verisimilitude, the strange image of human bodied tree is clear well-lit though a solo figure not isolated somehow. Slowness, watching the subtle shifts of solar plexus of gradual waves through the spine and then the...
by Reva Cappitone
I’m not a critic but it suddenly came over to me that I should write something about the show – another spectacular night at On the Boards! I have been a long time fan of this amazing venue, which is no doubt the treasure in our community that has brought us so much freshness and art, apart from the mainstream media. I try to attend at least one or two evenings at NWNW each year, and I’m glad I did! The arts I’ve got from the theatre was definitely, beyond what I can see in any other theatres in Seattle. I would recommend it to anyone who hasn’t seen the show.
An aperitif has to be good! And this was the perfect beginning to open up an evening. The dancer walked slowly onto the stage, transforming the space into a live, visual picture. Her big rounded eyes filled with intense focus, perhaps anxiety or a desire to hunt. She bore the bones over her shoulders; they looked light for her....
From Seattle Dances:
June marks the return of the NW New Works Festival at On the Boards, where you can catch a variety of dance, theater, and musical performances all in one evening. Weekend one of two (June 5-7) brought eight fresh NW picks to OtB’s two stages, and some very promising pieces of new work. The Mainstage show focused on bigger spaces and bigger movement, while the Studio showcase presented more intimate, theatrical dance pieces, often with the performers telling their story directly to the audience.
One such piece was Markeith Wiley’s 31 and Counting. Highly personal with underlying tension, Wiley portrayed his relationship to his blackness through a shadow character: a figure entirely obscured, including face and hands, in black clothing, danced by Danielle Hammer. The shadow sometimes synced up with Wiley, his movements even and measured,...
PE|Mo is an collaboration between theater artist HATLO and dance artist Rosa Vissers. Together and working with other community members and artists they create experimental performance works that incorporate unpredictable social arrangements, physical risk, and alternative narratives. The large-scale Anatomy of an Accident is an intense physical examination of what happens when things go wrong.
Andrew Hallenbeck is a queer dance artist and choreographer newly based in Seattle. His extensive ballet training comes to life in a short three-movement suite using the music of Tchaikovsky’s The Sleeping Beauty. Stereotypes, dysmorphia, and the dictates of Western in dictating performance in individual lives mix in a beautifully frenetic, technically gorgeous, and intensely personal performance.
Learn more about Hallenbeck here.