September 28, 1987 |
Maguy Marin is the scavenger queen of French movement-theater--a choreographer who pieces together what passes for dancing from bits of eccentric character-gesture and who assembles grandiose, nihilist spectacle from the flotsam and jetsam of European culture.
September 21, 1987 |
When almost everything being delivered by the Los Angeles Festival comes under the banner dernier cri , it's more than a little surprising to encounter Urban Bush Women, the New York-based dance-theater company that opened a three-performance run Friday at the Los Angeles Theatre Center. Touted in the program book for its "contemporary idioms," not to mention "the driving immediacy of the drama and wit of the spoken word," the three-year-old troupe all but defies such descriptions.
September 14, 1987 |
Just in time for the Pope's visit, the Fringe gives us a play about allegiance to God. T. S. Eliot's poetic drama on Archbishop Becket's 12th-Century martyrdom, "Murder in the Cathedral," is best performed in a church (it indeed opened in one, Canterbury Cathedral in 1935). And the vaulted Gothic ceilings of the 180-seat Shatto Chapel in the First Congregational Church of Los Angeles is an evocative "set" for this Commonwealth Theatre production.
May 27, 1990 |
The grand finale to summer's arts events comes appropriately at the end of the season when the Pacific-themed Los Angeles Festival officially gets under way Sept. 1. Organizers say the projected $4.5 million festival, which runs through Sept. 17, will include nearly 90 programs, featuring more than 100 performing groups and individual artists in a total of 240 performances and exhibitions. While the 1990 L.A.
September 4, 1987 |
Poet Naomi Quinonez took a deep breath, raised her book and read a lyrical passage aloud: "Aires Suaves , flautas , ritmos antiguos . Has venido . " "Soft breezes, flutes, ancient rhythms. You have arrived." A lilting Bolivian folk lament filled the air, musicians Mario Torrico and Fernando Popayan tuning in to Quinonez's words and tone to improvise their breathy pan-pipe serenade.
September 7, 1987 |
Dressed in spectacular silver and gray 18th-Century ruffles, panniers and curled wig--complete with a miniature three-masted sailing ship on top--Rachel Rosenthal sailed up the basement stairs of the Los Angeles Theater Center onto the stage of the Tom Bradley Theatre on Saturday, proclaimed herself "the flower of the Enlightenment" and launched into a sustained arioso.
September 10, 1987 |
Rudy Perez, who started the postmodern ball rolling in Los Angeles when he relocated here a decade ago, has recently gotten more than he bargained for: A full-page ad with his name emblazoned next to those of Merce Cunningham, John Cage, Ingmar Bergman and Peter Brook: Is that any way for a struggling choreographer and performance artist to be treated by Los Angeles Festival organizers? Needless to say, he's hardly complaining.
September 11, 1987 |
Darn it! I hate to put the knock on a perfectly respectable show like the Mark Taper Forum's "Babbitt: A Marriage," especially when it's ours. But after the exotic stuff we've been seeing at the Los Angeles Festival, it does seem a little, well, average. 'Course, that's what George F. Babbitt is about: being average.
September 23, 1987 |
"I work like a sculptor when I work with naked people," says Maguy Marin, discussing her evening-length epic "Babel, Babel," which her company will bring to the Los Angeles Festival on Thursday and Friday at the Raleigh Studios., followed by "May B" on Saturday and Sunday. In "Babel, Babel," which is set to Mahler, to popular music from the '60s (including "Yellow Polka-Dot Bikini") and to Spanish songs, Marin's company of 12 dancers does indeed appear naked a good deal of the time.
September 12, 1987 |
From his office at the Walt Disney Studios in Burbank on Thursday, Robert J. Fitzpatrick, director of the Los Angeles Festival, confessed to being "a little battle weary. The festival is less than 10 days old, and it feels more like 10 weeks." The canceling of last Saturday night's performance of Michael Clark & Co. after the 25-year-old British choreographer and dancer came down with a high fever was a downer, Fitzpatrick acknowledged.