offoffoff dance



Site links
  • 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
  • Antonio Ramos: Almodovar Dystopia
  • 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 Now 2019
  • Dance Sampler 2
  • DanceNow 2011
  • DanceNow 2011 Two
  • Dancenow 2012
  • DanceNow 2013
  • DanceNow 2014
  • DanceNow 2016
  • DanceNow 2017
  • DanceNow 2018
  • Daniel Gwirtzman: The Oracle
  • DaOn Dance: Root
  • David Appel and Daniela Hoff: Take Root
  • The Dinner Party: A Whodunnit Cabaret
  • Donnell Oakley Magnificent Marginal
  • 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

  • Gwen Gussman: Nourishment
  • HATCHed WAX: two to view
  • Heather Olson: Shy Showoff
  • Hilary Easton: The Constructors
  • Hurricane Party
  • Hyperbolic!
  • Jeanine Durning: To Being
  • Jenni Hong:
  • 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
  • Newsteps 2018
  • newsteps 2019
  • Nicole Wolcott: 100 Beginnings
  • Nicole Wolcott: Paper Pieces
  • NLD: The Whiz
  • Only Human: Christine Bonansea
  • Ori Flomin: First Move
  • Oui Danse: French Amour
  • Patricia Noworol Dance: Circuits
  • Perforations Festival
  • Performance Mix 2013
  • Performance Mix 2017
  • Performance Mix Festival 2010
  • Performance Mix Festival 2018
  • Petronio 2012
  • Petronio: Underland
  • Pina Bausch: Vollmond
  • ponydance: Anybody Waitin?
  • The Principles of Uncertainty
  • 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
  • Shamel Pitts: Black Velvet
  • 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: Angharad Davies and Amber Sloan
  • Take Root: Mei Yamanaka and Angel Chinn
  • Tere OConnor: Bleed
  • TheCraft
  • This One Goes Out To You
  • Tiffany Mills Company
  • Tiffany Mills: After the Feast
  • Tiffany Mills: The Blue Room
  • Triskelion Collaborations
  • Two at Abrons
  • Two at Dixon Place
  • Tykulsker Cora
  • tykulskerdean
  • Valerie Green/Dance Entropy
  • Valerie Green: Impermanent Landscape
  • Vim Vigor: Forever
  • 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


    Complete archive, 1999-present

    2018-2019 reviews:


      Nikki Zialcita (front) and Michael Helland in Faye Driscoll: There is so much mad in me
      Photo by Yi-Chun Wu
      Nikki Zialcita (front) and Michael Helland
    A Dark Shade of Light

    Faye Driscoll's "There is so much mad in me" unleashes nine souls at DTW


    There is so much mad in me takes everything Faye Driscoll has worked with and binds it together to create an emotional monsterpiece, a beautiful rollercoaster of feeling and sensation. Ecstasy runs right into tragedy over and over again, with perfectly paced moments of silent wound-licking between rounds.

    Blinding white light and noise accompanies the performers streaming down the aisles of DTW toward the stage to open what may be the widest-ranging piece I've seen. Onstage, clumps of two and three performers interact in a vague place between human and animal, with an amazing feral growl coming from one as the scene ends.

    Choreography by: Faye Driscoll.
    Dancers: Lindsay Clark, Lily Gold, Michael Helland, Jennie MaryTai Liu, Tony Orrico, Jacob Slominski, Adaku Utah, Jesse Zaritt, and Nikki Zialcita.
    Sound design by: Brandon Wolcott.
    Set design by: Sara C. Walsh.
    Costumes by: Machine (Dazzle).
    Lighting design by: Amanda K. Ringger.
    Production stage manager: Randi Rivera.
    Dance Theater Workshop
    March 31-April 3, 2010

    Nikki Zialcita and her inimitable private gigglejoy are stars of the show and the first thing we see onstage next, shadowed or peopled by someone behind her, the first of many strange moments of inhabitation or coupling that involve one more body than seems natural, like a physical manifestation of the "mad" in each. Joy at the edge of madness is a frequent visitor onstage, an ecstasy so fragile it is scary to watch, and Zialcita does this better than anyone, making us bellylaugh while we wait for the breakdown. As her hidden body partner becomes more and more visible, the two begin to interact and intertwine, eventually leading to hilarious swinging moments of "wheeee" where Zialcita is enjoying herself with legs wrapped around her lover/self/alterego. At some point she breaks free and begins happily slapping herself silly in a rhythmic slapdance that eventually draws everyone else onstage to form a dance circle to egg her on and eventually reward her with flowers and chocolates.

    L-R: Nikki Zialcita, Tony Orrico, Michael Helland, Jesse Zaritt, Adaku Utah, Lily Gold, Lindsay Clark, Jacob Slominski in Faye Driscoll: There is so much mad in me
    Photo by Yi-Chun Wu
    L-R: Nikki Zialcita, Tony Orrico, Michael Helland, Jesse Zaritt, Adaku Utah, Lily Gold, Lindsay Clark, Jacob Slominski

    This theme of group excitement also comes back again and again, and it is not always quite so bright and shiny. The first hint of this comes when the silent and oblivious Lindsay Clark wanders onstage just as the celebration is peaking to stand directly in front of Zialcita and squash her moment. Oddly, the crowd quickly forgets Nikki and starts asking, then commanding Lindsay to "sing her song", even beginning to rough her up a bit as she stays mute, happiness quickly turning to darkness, another common occurrence.

    If the occasional growls and shrieks aren't enough, Tony Orrico coming out to literally climb the wall downstage is yet another semi-literal reference to being a bit mad, with onlookers coming to encourage him until things devolve into upsidedown feet tickling his neck.

    Throughout, sound design by Brandon Wolcott and lighting design by Amanda K. Ringger do a wonderful job of conveying love and madness, joy and violence, happy darkness. Both sound and light alternate between subtle and severe quickly. Music that is so spare and joyful for much of the early part of the piece, and lighting during a big group eighties-music-video dance section that cycles through bright background colors while the group stays lit in white, stick in mind, but moments of darkness get masterful light and sound as well.

    The performances by Lindsay Clark, Lily Gold, Michael Helland, Jennie MaryTai Liu, Tony Orrico, Jacob Slominski, Adaku Utah, Jesse Zaritt, and Nikki Zialcita are superb, emotionally and physically.

    fight in Faye Driscoll: There is so much mad in me
    Photo by Yi-Chun Wu

    In the course of the show, there are religious-style revival meetings, group rapes and physical fights and their emotional aftermath, and even a Springer-style deviant-sex talk show that, as usual here, begins quite humorously and ends badly as the entire group chases and brutally beats down the slightly-too-sexually-active Tony.

    The darkness and violence are so wrenching and real at moments, so much more so than the hysterical happiness that pervades much of the rest of the piece, and yet the chillout moments between high drama are so soft and sad and exhausted that the overall flow of the piece always feels natural. Madness in every guise is included here, yet humor and ambiguity keep things from ever falling off a cliff, also true to life.

    A big fight scene between Michael Helland and Jesse Zaritt is a good example and a sort of pivot in the piece. After Jesse beats Michael and gloats way too much for the fight-provoking crowd, the two play a twisted triangle with Lindsay to cajole her to sing, both manipulating furiously, one bribing and the other commanding. When Lindsay finally does sing her song, she is joined by first one, then two, then the entire group, who sing a beautiful spiritual song about "when heaven comes down, what does it look/feel/sound like when God is all around." This could be the uplifting ending, and indeed gives that impression at first, but like Terry Gilliam's movie Brazil, " much mad..." has multiple endings, and only one is unconflicted.

    A possible ending before the singing one is so dark and psychotically angry, via Jacob Slominski, that any trace of fun is far away. The ultimate ending, with a voice-distorted domestic argument from hell over a group jogging slowly and in rhythmic synchronicity like a military unit around a darkened stage and up and down the aisles, has just the right mix of tragedy and comedy and ends with an exchange that most in the audience can appreciate — man:"I just want to know what you're feeling." woman: "I don't know."

    APRIL 5, 2010

    Post a comment on "Faye Driscoll: There is so much mad in me"