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It's the movement, really, that's so absorbing at first: bodies fully committed to streaking through space, spreading out into wide jumps and spiraling leaps, then teetering and stretching until they fall heavily off balance. In duets and trios the dancers partner one another roughly, tugging and butting and punching at each other, then sidling up in tight, awkward clinches.

The music and the lighting change abruptly and unpredictably, from shadows to glare, desperate words to pop klezmer. The dance too spazzed from fight to flight, pursuit and capture to thrusting out and yanking open and ecstatic release.

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ARTICLES BY MARCIA B. SIEGEL
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  •   SNACKS  |  November 24, 2009
    The most substantial item in the assortment of dances by the Trey McIntyre Project last weekend was an oddly proportioned 20-minute meditation on climate change and Glacier National Park. McIntyre, whose company appeared at the ICA as part of the CRASHarts series, has gotten a lot of press exposure as an up-and-coming choreographer with serious ideas.
  •   SUSTAINABILITY  |  November 04, 2009
    If you wanted to know what happened at the Merce Cunningham memorial a week ago Wednesday in the Park Avenue Armory, you could get a thousand answers.
  •   DEFINITIONS  |  October 28, 2009
    Boston Ballet’s artistic director, Mikko Nissinen, wants us to think of his company as utterly contemporary, but it’s a tricky balance to pull off.
  •   SUNDAY SCHOOL  |  October 21, 2009
    Ronald K. Brown’s flamboyant choreography comes with a big serving of spirituality.
  •   REQUIEM DETEXTED  |  September 30, 2009
    Mozart's Requiem is one of the most controversial works in the classical repertory. Mozart had completed only parts of it and sketched other parts when he died, unexpectedly at age 35, in 1791. His death ignited immediate speculation and myth.

 See all articles by: MARCIA B. SIEGEL

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