Re: The Works. A critic might want to pay attention to the act he's reviewing especially if he doesn't "get it". Sloppy work. Write about the bartenders next time. Oregon Painting Society was easily one of the best moments in the TBA. Hat's off to them!

I'm with you, Stephen, the most interesting part of this work was its unintentional political context.

But I left at intermission, so maybe it got more compelling in the second half? I liked the extreme focus on the dancers' small movements and the shape/strength of their bodies, but I couldn't take two hours of it.

Actually, the second most interesting moment came as soon as I stepped out onto the street again after the first half: suddenly the world felt more vibrant and visually interesting than it had an hour before.

except for one, an Algerian-born performer, detained solely because of his country of origin

Details and context please.

A very belated response! I wrote this immediately after reading the blog review, and am just now posting it:

I have to say that it's sad that people left at intermission. I had actually considered leaving, as well, since I was so exhausted from the week's activities, and was afraid of rudely falling asleep in the audience. However, standing, stretching and talking at intermission provided a very appreciated second wind. The first half was mesmerizing in its grace, pace and beautifully-executed movements, but definitely took patience and attentiveness just like it took exceedingly more of the same from the performers to deliver it so well. I would hardly call it "cacophonous", but actually minimal and thoughtfully patterned. In hindsight, it seemed to be the preparation for the second half.

The second half was absolutely stunning: the swelling, repetitive and provocative music of Ravel's Boléro in compliment and contrast to the simple, repetitive choreography involving the male dancers was surprisingly moving--especially after the stamina and patience required of the audience in the first half of the show. It was as if they were dancing through an inevitable struggle, each one alone in the experience, yet joined by choreography and the beautiful vision of their naked torsos hunched over. With the female dancer playing witness and assistant to the drama--collecting and redistributing their t-shirts before and after the section, and sitting upstage in the dark during the piece, the section was evocative of a death march, funeral procession, Sisyphean task, or, strangely, even just a big, long hug. I know I wasn't the only one moved to tears, which is an uncommon experience for me as audience. Perhaps you can find a video of the section, but of course it won't be nearly the same as it is in person.

When I heard Cathy Edwards address the audience on 9/12/09, it was not specified that the dancer was "detained solely because of his country of origin." It was, however, implied as she explained that the Algerian-born/French resident was the only one who faced issues with Homeland Security at the U.S. border. Although the choreography and drama of the second half were at times too obviously emotionally manipulative for me (even including the unchoreographed political implications), it really worked in the piece, and I happily and safely agreed to be manipulated. In the end the border issues only made it more relative and present.

As far as The Works, I have to agree with Smitty about the responsibilities of a critic. However, I am also biased having been in the piece. On a light note I would like to suggest that (among other things like sticking through performances as a critic) you may want to learn to differentiate American Apparel from Rad Summer, House of Vintage, and Goodwill. Of course, the bartenders were lovely people and I, too, enjoyed their company, talking about art, social services, and nursing school.

So, Mr. Beaudoin, I would like to invite you to attend any future performance in which I am involved, and encourage you to stay until the end.

Sincerely,
Kathleen Keogh
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