To Sam Kim, One Is the Most Narcissistic Number That You’ll Ever Know

Sam Kim's Fear in Porcelain

The contemporary choreographer Sam Kim believes that the dance solo is, well, gross. (Take that, Anna Pavlova and all your dying swans.) In “Fear in Porcelain,” Ms. Kim challenges the very idea of a solo, which she sees as being part of a deeply narcissistic tradition. Her aim is to extinguish the ego; this evening-length premiere, performed Wednesday at the Chocolate Factory, features not one dancer but four. Read More...

Gia Kourlas

New York Times

Nov 11, 2016

Beth Gill’s ‘Catacomb,’ Dreamlike and Site-Specific

Beth Gill's Catacomb

After a blackout signaled the end of Beth Gill’s new Catacomb, it was pin-drop time, a rare instance in which reflexive habits (show’s over; you clap) didn’t change the room’s atmosphere. We were still under Ms. Gill’s odd spell. Read More...

Gia Kourlas

New York Times

May 19, 2016

Review: Exploring Domestic Drudgery in ‘Play, Thing’

Heather Kravas' play, thing

In January, the choreographer Heather Kravas presented her aggressively stringent solo “dead, disappears,” in which she walked on her toes with her head covered by a garbage bag, urinated in a bucket and beat a pillow, duct-taped to a chair, with a pole. For her new “play, thing,” she extends her passion for repetitive movement and simple props with more dancers — six in total — who execute three independent, converging duets. It has a twin theme. The pillow is back, but this time there are two. Read More...

Gia Kourlas

New York Times

Apr 28, 2016

Review: ‘Adult Documentary’ Is Dense and Difficult, Including the Carpet

Juliana F. May's Adult Documentary

During this age of reality television and its aggressive pursuit of chaos, it doesn’t seem a coincidence that the choreographer Juliana F. May has created “Adult Documentary,” a work constructed of real and fictional stories by its performers. Those stories serve as raw material, distorted over time and replayed on an incessant loop as Ms. May drains and fills in her choreographic terrain. That, by the way, is an expanse of sandy brown carpet — just thick enough that if you walked into a hotel room covered with it you’d think twice before taking off your socks. Read More...

Gia Kourlas

New York Times

Mar 03, 2016

Five Years

David Neumann's I Understand Everything Better

Last week I had the great good fortune to secure a hard-to-come-by seat to I Understand Everything Better, a dance-theater work by David Neumann and his Advanced Beginner Group. Co-commissioned last year by Abrons Arts Center and the Chocolate Factory, it was reprised this month as part of P.S.122’s COIL festival. Afterwards, my mind turned to Wallace Stevens’s gorgeous poem “Notes Toward a Supreme Fiction,” with its evocation of major weather, the sort that will not be conjured. Read More...

Claudia La Rocco

Jan 19, 2016

Michelle Ellsworth’s Provocative Protocols

Michelle Ellsworth's Clytigation: State of Exception

It is best to attend Clytigation: State of Exception, by the unclassifiable performance artist Michelle Ellsworth, with a healthy appetite. I’m not talking about your stomach, though during the show at the Chocolate Factory in Queens, where the work had its New York debut on Wednesday, someone cooks enough pancakes for everyone. The extraordinary plenitude on offer is mental. This is high entertainment with no empty calories. Read More...

Brian Seibert

New York Times

Nov 13, 2015

Review: Silas Riener, Emanating Force in ‘Blue Name’

Silas Rieners' Blue Name

Silas Riener, now free from the constraints of a conventional group — he was a member of the Merce Cunningham Dance Company from 2007 until it disbanded in 2011 — is a rare sort of dancer, one whose body emits force, whether the results are satiny, vigorously unyielding or somewhere in between. Read More...

Gia Kourlas

New York Times

Oct 16, 2015

‘Asking for It’ Uses Wit to Tackle Cultural Norms About Rape

Adrienne Truscott's Asking For It

At the Creek and the Cave, the club-turned-bar-turned-Mexicali-joint now hosting Adrienne Truscott’s “Asking for It,” there is a two-for-one margarita offer. Go ahead and get your order in. This hourlong show, a performance-art riff on rape performed by a mostly naked woman, is both chirpy and blistering. It rewards and invites a strong drink. Read More...

Alexis Soloski

New York Times

Sep 28, 2015

Asking for It: A One-Lady Rape About Comedy Starring Her Pussy and Little Else!

Adrienne Truscott's Asking for It: A One-Lady Rape About Comedy Starring Her Pussy and Little Else

Adrienne Truscott — or at least the version of her in Asking For It — loves to tell rape jokes. They're so hilarious! So topical! So terrifying in the hands of a woman without her pants on! If dudes defend their right to tell ’em, this bewigged, bewaxed dynamo is there to cheer them on, sometimes using her own blonde hairpieces as her spirit-girl pom-poms. Read More...

Helen Shaw

Time Out New York

Sep 25, 2015

Review: Jeanine Durning’s ‘To Being,’ a Dance Premiere in Queens

Jeanine Durning's To Being

How will they get themselves out of this? I kept wondering that during Jeanine Durning’s “To Being,” which had its premiere on Wednesday at the Chocolate Factory in Queens, and not because I wanted it to end. This marathon of a dance enmeshes the dancers so wholly in doing, doing, doing that you can’t imagine them being done. It’s like watching people live, right in the thick of passing time. Read More...

Siobhan Burke

New York Times

Sep 10, 2015