offoffoff dance
 RELATED PROJECTS

      







 ADVERTISEMENT













Site links
  • OFFOFFOFF Home
  • About OFFOFFOFF
  • Contact us

    Get our newsletter:
     
    Search the site:
     


    Dance section
  • Dance main page
  • Dance archive

    Current dance


  • 277DanceProject: This is Heaven to Me
  • A.W.A.R.D. Stars
  • Aaron McGloin: Lamina
  • Aaron McGloin: Native
  • Akiko Furukawa: Room 702
  • Alley of the Dolls [this is not a Sequel]
  • Anchors and Ties
  • Aretha Aoki and Benjamin Kimitch
  • BAADass Women Festival
  • Banana Peel Dance: Dinner Party
  • The Barnard Project 2010
  • Batsheva: Hora
  • Belinda McGuire
  • Bennyroyce Royon: Chronos Project
  • Bloom: City
  • Body Collider: Bare Knuckle High Fashion
  • Brian Brooks
  • Brian Brooks Moving Company 2012
  • Bryn Cohn: Skin
  • Burr Johnson
  • Chavasse Dance and Performance
  • Chris Schlichting: Stripetease
  • ChristinaNoel and the Creature
  • Chunky Move: Faker
  • Chunky Move: Mortal Engine
  • Cool NY 2011
  • Cool NY 2012
  • Current Sessions: 03Savings
  • The Current Sessions: Volume 1
  • Da-on Dance: Thirst
  • Dance Apocalypse: Solos
  • Dance Gallery 2013
  • Dance Gallery 2015
  • Dance Gallery Festival
  • Dance Gallery Festival 2012
  • Dance Now 2015
  • Dance Sampler 2
  • DanceNow 2011
  • DanceNow 2011 Two
  • Dancenow 2012
  • DanceNow 2013
  • DanceNow 2014
  • DanceNow 2016
  • Daniel Gwirtzman: The Oracle
  • DaOn Dance: Root
  • David Appel and Daniela Hoff: Take Root
  • The Dinner Party: A Whodunnit Cabaret
  • Donnell Oakley: Sure
  • DorothyAnnieMaria
  • Doug Varone and Dancers 2017
  • Dumbo Dance 2010
  • Dumbo Dance 2011
  • Dumbo Dance Festival 2012
  • Faye Driscoll: Thank You for Coming
  • Faye Driscoll: There is so much mad in me
  • Faye Driscoll: You r Me
  • Festival Twenty Ten
  • Festival Twenty Ten Too
  • FLICfest 2012
  • FLICfest 2013
  • Fresh Tracks 2010
  • Fresh Tracks 2011
  • Gallim: Sit, Kneel, Stand
  • Gerald Casel: Fluster and Plot
  • Gotham Dance Sampler 1
  • Green Space:
    Take Root

  • HATCHed WAX: two to view
  • Heather Olson: Shy Showoff
  • Hilary Easton: The Constructors
  • Hurricane Party
  • Hyperbolic!
  • Jeanine Durning: To Being
  • Jenni Hong: Mach.com
  • Jody Oberfelder: The Soldier's Tale
  • John Jasperse: Canyon
  • Jonah Bokaer: Rules of the Game
  • Jonathan Pratt
  • Julian Barnett: Sound Memory
  • Julie Bour: Why Now?
  • Katie Workum: Black Lakes
  • Katie Workum: Fruitlands
  • Katie Workum: Herkimer Diamonds
  • Katy Orthwein and Aaron McGloin
  • Keigwin and Wolcott: Places Please
  • Keigwin+Company 2012
  • kerPlunk and Friends
  • Kidd Pivot: Dark Matters
  • Kota Yamazaki: Rays of Space
  • Kyle Abraham: Heartbreaks and Homies
  • Larry Keigwin: Exit
  • Lincoln Center Kenan Fellows
  • lmno3:BANGS
  • Lucy Guerin: Structure and Sadness
  • Lucy Guerin: Untrained
  • Magda and Chelsea: The Vulgar Early Works
  • Mari Meade and Companies
  • Mari Meade and Gierre Godley
  • Mari Meade and Teresa Fellion
  • Mari Meade: Not My Home
  • Mark Dendy: Labyrinth
  • Mark Dendy: NYny Astor Place
  • martha clarke: angel reapers
  • Martha Graham Company 2016
  • The Median Movement: JACK Rally
  • The Median Movement: X
  • Mei Yamanaka Works: Sunflower
  • Merce Cunningham
  • Miguel Gutierrez: And lose the name of action
  • Mina Nishimura
  • MokdessiWagner and Kawamura
  • Nathan Trice: Recognizing Women Project
  • Neta Dance: 2280 Pints!
  • newsteps 2013
  • newsteps 2014
  • Newsteps 2017
  • Nicole Wolcott: 100 Beginnings
  • Nicole Wolcott: Paper Pieces
  • NLD: The Whiz
  • Ori Flomin: First Move
  • Oui Danse: French Amour
  • Patricia Noworol Dance: Circuits
  • Performance Mix 2013
  • Performance Mix Festival 2010
  • Petronio 2012
  • Petronio: Underland
  • Pina Bausch: Vollmond
  • ponydance: Anybody Waitin?
  • Project RUIN
  • Purchase Company 2013
  • Ralph Lemon: How Can You Stay in the House All Day and Not Go Anywhere?
  • Raw Directions 2012
  • Raw Directions 2013
  • Relative Soul: Two Takes
  • Richard Move: Martha 1963
  • RoseAnne Spradlin: beginning of something
  • Sam Kim: Sister to a Fiend
  • Sarah Skaggs Dance: The New Ecstatic
  • Sarah Skaggs: Roving 911 Memorial
  • SeNSATE
  • Shannon Gillen & Guests: Clap for the Wolfman
  • Shannon Gillen: A Colored Image of the Sun
  • Shen Wei Dance Arts
  • small apple co.
  • Splice: Japan
  • Stephen Petronio 2014
  • Stephen Petronio 2015
  • Stephen Petronio 2016
  • Stephen Petronio: LLD 430
  • Strange Love: Episode 5
  • Take Dance
  • Take Root: Mei Yamanaka and Angel Chinn
  • Tere OConnor: Bleed
  • This One Goes Out To You
  • Tiffany Mills Company
  • Tiffany Mills: After the Feast
  • Triskelion Collaborations
  • Two at Abrons
  • Two at Dixon Place
  • Tykulsker Cora
  • tykulskerdean
  • Valerie Green/Dance Entropy
  • Valerie Green: Impermanent Landscape
  • Walter Dundervill: Candy Mountain
  • Wave Rising 2011
  • William Forsythe at BAM
  • William Forsythe: Decreation
  • Women in Motion 2012
  • Wrought Iron Fog
  • Yoshiko Chuma and Rebecca Lazier
  • Zvidance: Dabke+Coupling
  • ZviDance: Zoom

    Archive


    Complete archive, 1999-present

    2016-2017 reviews:

  •  REVIEW: DURA MATER

      Dura Mater
      Photo by Ellen Crane
    For better or for worse

    Dura Mater's ten-year anniversary gala showcases the good and the less-so of Kriota Willberg's repertory.

    By QUINN BATSON
    Offoffoff.com


    After the fight, this reviewer's scorecard reads: Eastern European dances — good; comic interviews — bad. Kriota Willberg used this 10th anniversary celebration performance to show why she has made it ten years in NYC making dances and also possibly why she hasn't gotten much further. The evening's several high points were unfortunately pulled down by too many dull or insufficient moments, leaving the viewer feeling full from plain mashed potatos rather than some of the delicious dressing or piquant cranberry sauce he'd tasted earlier. The entire audience actually was offered tiramisu after the performance, payoff for the interviews.

    DURA MATER
    Choreography by: Kriota Willberg.
    Dancers: Julie Betts, Beth Simons, Katya Vasilaky, Kriota Willberg, Kindra Windish, with guests Katie Diamond, Diane Dittrick, Nuria Divi, Elena Lopez Sans, Maja Lorkovic, Daniela Rapp, James Urbaniak, Katrina van Zee, Sophie Weber .
      
    The evening began with an 'Inside the Actors' Studio'-type interview of Willberg, conducted gamely by James Urbaniak, which was a strange combination of reading-lines-from-a-teleprompter, ultra-informational responses and the type of deadpan "humorous" exchanges that work for Bebe Neuwirth on Cheers but fell flat for Willberg on stage. Later variations of this interview between pieces with other dancers in the company, with the winsome exception of Julie Betts', didn't advance the performance either and pulled any choreographic momentum to a stop.

    However, first came the excellent "Folkdance" and "Khlysty Orgy," a two-in-one piece of strong choreography inspired by Eastern European dance, costume and story, backed by the energized live music of The Wharton Tiers Ensemble and danced with gusto by Julie Betts, Beth Simons, Katya Vasilaky and Kindra Windish. Think peasant women stomping and spinning to hard-rocking dissonant music with a subtle Batman-Gunn theme (Folkdance) devolving into a lose-the-dresses orgy of choreographic debauchery (Khlysty Orgy from the full-length "I, Rasputin" of 2000).

      
      "...take supplies from the dead and wounded, amputate...clean that saw..."
      
    Willberg's "Doggie Style" was a cute and fairly unexpected "doggie" striptease with cabaret-style dancing over a chair and character-specific prosthetics, light but satisfying.

    "Plasticine Adolescent" was an odd '80s-music-video solo with Vasilaky wrapped in an electrical tape/spider web costume, combining Fosse and ballet in an awkward and precious style, performed to music by Aphex Twin.

    "Four Cygs" (as in swans) flew back to Eastern Europe in white dresses, accompanied by softly chugging music by Scott Westerfeld, danced beautifully by Betts, Simons, Willberg and Windish. This, too, was a transcendent piece of work, with all elements working together harmoniously, taken from the full-length "Waterbirds" of 1998.

    "Housewife" was a piece meant to address domestic violence against women, but danced solely by women, this was not readily apparent. In brief, half the women smacked themselves and fell down and the other half comforted them, and then all the women slapped themselves, fell down and writhed. Overall, the piece was disturbing but obscure, as in the ending when all the women walked toward the audience offering both hands but then stopped and drew one back into a fist.

    "Michelle's Solo" may have been interesting when Michelle Dortignac danced it in its 1993 debut, but Windish did little with it other than give a ghostly, other-worldly presence in her wispy white dress and glowing red hair.

    The style of "Danci," performed by Willberg, Simons and Windish, had much of the awkwardly self-conscious and precious feeling of "Plasticine Adolescent," though otherwise the pieces shared nothing. Glittery costumes from Baum's, beautiful really, and an odd but appealing assortment of music by Mohammed Rafi weren't enough to propel the choreography.

    "Untitled Fight #3" was essentially a lame, slow-motion swordfight, inspired by Willberg's professed fascination with fight choreography, not really a dance piece and not really a swordfight.

    Thankfully, an in-progress excerpt of "Civil War" ended the evening on a wacky but amusing note, as the company joined by Katie Diamond, Maja Larkovic and Katrina Van Zee performed a spirited square dance with called instructions based on actual Civil War-era "calls" staged to inspire people by turning war into square-dance theater. Some examples: "...take supplies from the dead and wounded," "amputate...clean that saw," and "decapitate...disperse." Action on stage swung from apparently normal square dancing to cartoonish choking and bayonetting, all in good fun.

    "Gala Lite" left some strong impressions but too many weak ones as well. The informational interviewing device made the evening feel more like a documentary than a dance performance, but the evening did start and end with very good pieces.

    DECEMBER 4, 2003
    OFFOFFOFF.COM • THE GUIDE TO ALTERNATIVE NEW YORK



    Post a comment on "Dura Mater"