Re:Views

The pace of the work is relentless, transitioning from one rhythm to another, one pattern to the next, one dancer leading switched out for another. The dancers show no signs of listening for cues. Instead, they appear telepathically connected, pivoting and exchanging material with uncanny precision. Improvisational impulses are woven into a tightly organized, ever-shifting and unpredictable structure.Read more

In this work, Dar demonstrates that good dance may turn its head backward, like Orpheus, but above all it surrenders itself to the present in every lifting of a dancer’s leg and every tossing of her head. It recognizes that “the pure present is the invisible progress of the past gnawing into the future. The truth is that every sensation is already memory,” as philosopher Henri Bergson wrote.Read more

Both works powerfully express the emotions we’ve all been carrying through this past month and more: anxiety, terror, helplessness, the attempt to survive inside all this darkness.Read more

Popalinda in the Kingdom of Imagination is a dance-theater work for children, but first and foremost it is a work of the body. Adi Eytan as Popa and Shachar Dolinsky as Roberto, inspired by Mary Poppins and Bert (a wink also to the parents’ generation), create movement work that both children and adults can enjoy.Read more

Each costume piece removed reveals not only Sirkis’ body but a transformation. A new character. A reference. A provocation. A version of how a body might be read.

She is not undressing.
She is multiplying.Read more

It is a physical theatre piece rich in imagery, with precise and flawlessly crafted scenography, and dramaturgy that sustains attention throughout. We encounter many characters, among them the problematic student in a fitness group who understands the exercise only once it is over, the sturdy weightlifter who surprises at the crucial moment, the samurai who stops time and crumbles bricks into particles, and the pole vaulter who manages to jump high, though it requires massive teamwork. The actors’ ability to precisely execute failure turns the performance into a continuous experience of laughter. Adults burst out laughing, children were giggling non-stop.Read more

Often it’s hard for her and Daniela to say goodbye after spending a full, fun Saturday together. At the end there’s always drama and tears; they don’t want to go home. They say they’re sisters. When they were younger, they used to say “sisterses.”
Daniela and Yaara are both only children. Alona is also an only child, and you feel her struggle as an only child facing the world, changing moods during the show, and the voice of the tree asking her to give up the leaf she considers as hers.
Next time, we mothers can remind them of that moment in the show. Not so there will be less drama, but maybe the memory of Alona parting from the leaf will help them see separation a bit differently.Read more

The greatness of a personal work, in my eyes, lies in its ability to touch even those who are far from its direct contexts. Podium does this wisely, and invited me to examine my relationship with rules, with the constant search for the firm hand and for excellence that are paired together in my imagination.Read more

Throughout the work, the four performers repeatedly toy with the idea of transmuting thoughts into language; of expressing dance with words and vice versa; of making their inner and private dialects not only heard but understood by others — be it a dancer interpreting the choreographer’s score, a dancer reacting to a fellow dancer on stage or a dancer communicating her sensations and thoughts with the audience through words or movements.
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First Things by Michael Getman, performed with virtuosity by Ariel Gelbart, is a fascinating, deep, and multi-layered work. Fragments of textual and musical information meet a distilled choreography, and together they ask the most fundamental question: what is the human experience?Read more