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IMPRESSIONS: Dana Reitz's "Latitude"

February 15, 2018

After writing this review, I wondered if the last paragraphs were indicative of the fact that I came of age in the time of the Internet. My attention span is shorter, and my desire for new information is stronger, I believe, than someone who’s a couple of decades older than I.

 

Would you feel the same as I did? And would that be because of when you were born?

 

TWO MINUTES TO READ

 

PREVIEW AND LINK AFTER PHOTO

 

 Dana Reitz's Latitude at New York Live Arts as part of Lumberyard in the City Winter Festival. Photo by Kate Enman. 

 

It starts before it begins. Dana Reitz’s preoccupation with and manipulation of light frame the pre-show hubbub. The flash from smartphones, the glimmer of house lights, and the faint luminescence pooling on the empty stage conspire into an intentionality that foreshadows the subtle but specific beauty that’s to come.

 

Elena Demyanenko walks onstage with no fanfare, and the show of blinks and blazes shifts from us to them. In Latitude, the third and final presentation at New York Live Arts of Lumberyard in the City Winter Festival, a trio of women including Reitz glide through task-oriented vignettes. The non-movement elements — lighting design, a quartet of sticks — are minimal, yet the possibilities prove . . .

 

TO READ THE BALANCE OF MY REVIEW, PLEASE VISIT THE DANCE ENTHUSIAST.

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