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Posted inTBA

Review: Radoslaw Rychcik/Stefan Zeromski Theatre

Ian Goodricch Ahem… GAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!! A more nuanced appraisal, After the Jump! Ian Goodrich *cough cough* There is no solitude in Radoslaw Rychcik/Stefan Zeromski Theatre’s In the Solitude of Cotton Fields. When the curtain opens, flooding the audience with enormous billows of artificial fog, it marks the beginning of one hour of pure, loud, lurid, muscular […]

Posted inMovies & TV

Thoughts on the Short Films of Dayna Hanson

Sitting in the darkened Whitsell Auditorium, watching the Hanson’s short films flicker past with all of their dancey, frenetic verve, it became clear to me what an impressively talented multi-disciplinary artist she is. With works spanning from her time with Seattle-based performance group 33 Fainting Spells, to her newest work Improvement Club, a companion piece […]

Posted inTBA

A Late and Practically Irrelevant Breakdown on the 22nd Installment of Ten Tiny Dances (with Pictures!)

Ian Goodrich Anne Furfey’s Sink The difficulty with a Tiny Dance is that within the constraints of space and time—a small stage, and maybe around ten minutes—it can be hard for a choreographer to get across what they want to get across. It seems to me, longer performances with more stage allow choreographers/performers much more […]

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