The Revolutionary: An interview with organist Cameron Carpenter by Stephen Greco, Classical TV, December 2009 InfiniteBody http://infinitebody.blogspot.com

In Conversation: MTA at DNA Art, Nature, and Community at Mount Tremper Arts (MTA) Photographs by Mathew Pokoik � Tuesday, December 1 through Wednesday, December 30 Opening Reception: Thursday, December 10, at 7pm To be followed by the premiere performance of A Number of Small Black and White Dances by the Aynsley Vandenbroucke Movement Group at 8pm Dance New Amsterdam 280 Broadway, 2nd Floor (entrance on Chambers) Manhattan In Conversation: MTA at DNA documents the relationship between art and...

The Circular Logic of the Universe by Natalie Angier, The New York Times, December 7, 2009 InfiniteBody http://infinitebody.blogspot.com

The Nutcracker according to Brenda R. Neville is a cozy affair set in contemporary, high-rise Manhattan. Since her amiable Drosselmeyer (Yasu Suzuki) is a well-traveled, open-minded diplomat, she can rightly give him friends and associates of diverse races and nationalities and even have young Clara (Ally Taylor Sacks) get dreamy over an NYPD cadet (Christopher McDaniel) who happens to be Black. What's more, Neville Dance Theatre's Nutcracker puts out the red carpet for a bustling world of dance—from tango to Tinikling...

Director-choreographer Jeremy Wade concludes There is No End to More--performed by Jared Gradinger of Berlin's Constanza Macras/Dorky Park troupe--at Japan Society tonight. So, people, there really is an end to No End. Try, try, try to get in. This production--and Gradinger's demanding, non-stop solo--hit me with the force of a thousand-thousand stars. If that sounds like a wild exaggeration, let it. It should give you a sense of the intensity of the manga-fabulous text dreamed up by writer Marcos Rosales with Gradinger and Wade, the increasingly maniacal, nightmare visuals by illustrator Hiroki Otsuka and video artist...

The Dream Express started with the sip of a drink, the wail of a distant train, and a kind of yelping, high-lonesome, tumbleweed song. The Chocolate Factory hosted a "journey to the end of the night" with its upstairs theater marvelously, if tackily, re-purposed as an honest-to-god cabaret for�Obie-awardees Steve Mellor ("Spin Milton") and Deirdre O'Connell ("Marlene Milton"), known as, they kept telling us, The Dream Express, along with co-conspirators Len Jenkin (writer/director) and John Kilgore (composer). At first glance, the formerly-married Miltons--hulking, vaguely surly Spin and slightly tipsy, vaguely slutty Marlene--looked like...

I love this!

InfiniteBody http://infinitebody.blogspot.com

Last night, I made my first trip to WNYC's Greene Space for a World AIDS Day event featuring performances by the pioneering poet Sonia Sanchez and acclaimed dancer-choreographer Ronald K. Brown as well as a conversation among Sanchez and health advocates. Greene Space's intimate setting created a special feeling of welcome quite appropriate to the artists' theme of acceptance, truthful dialogue and reconciliation within the Black family and within the larger family that is the Black community. Warmly accompanied by jazz musicians Odean Pope (saxophone), Kenny Gates (piano) and Lee Smith (bass), Sanchez performed her award-winning Does...

Ohad's Advice to Critics by Ohad Naharin, 2009 Dance Magazine Awardee This is a must-read, and I hope my colleagues will give it a look-see, "especially if [they] are from England." :-D I really do need to "dance [my]self a few minutes every day," but other than that, I'm pretty much checking off these items as done or, at least, reasonably do-able on a regular basis. On the issue of describable dance being bad choreography, he might have a point--but only because choreographic expression and writing feel as if they come from different universes. Most dance, not just good dance, is bitching hard to describe in words. Which is why dance writers get paid...