American Theatre: John Kelly
Posted November 30, 2010 at 5:51 pm
20 Questions
Award-winning performance artist JOHN KELLY is perhaps best known for his uncanny portrayal of singer/songwriter Joni Mitchell—just don’t remind him of that. The jack-of-allarts chafes at categorization. Kelly’s Pass the Blutwurst, Bitte, about Viennese expressionist Egon Schiele, plays this month at La MaMa E.T.C. in New York City, alongside a gallery of selfportrait photographs of Kelly as Schiele. READ MORE >>
Encore Magazine Preview: Pass the Blutwurst, Bitte
Posted at 5:24 pm
La MaMa Presents the Revival of John Kelly’s Pass the Blutwurst, Bitte
Nearly 30 years into a celebrated career spanning performance and visual art, John Kelly is widely considered an American master. He has garnered not only critical acclaim, but also the admiration of artists ranging from Joni Mitchell to Antony, Natalie Merchant to Steven Sondheim, James Franco to Todd Haynes.
This fall, La MaMa will reveal the breadth of Kelly’s artistry when it presents a revival of his landmark performance work, Pass the Blutwurst, Bitte.
Originally trained as a dancer with American Ballet Theatre and the Harkness House for Ballet Arts, Kelly performed with modern dance pioneer Charles Weidman and studied with James Waring. Among the many awards Kelly has earned are two Bessie (New York Dance and Performance) Awards; two Obie Awards; the American Choreographer Award; a 2001 CalArts/ Alpert Award in Dance/Performance. Fellowships include a 2006-07 Rome Prize in Visual Art at The American Academy in Rome; The Radcliffe Institute for Advanced Study at Harvard; The Guggenheim Foundation; The New York Foundation for the Arts; The National Endowment for the Arts; and Art Matters, Inc.
Conceived, directed and choreographed by Kelly, Pass the Blutwurst, Bitte is an ensemble work for five performers. The piece employs dance combined with film, onstage drawing, and recorded and live vocal music. The work was originally presented at Dance Theater Workshop in 1986, when it earned an OBIE Award. An expanded and revised version was presented at La MaMa in 1995. It was on The New York Times year-end best-of list and toured nationally and internationally (Italy, France, Germany). This run of Pass the Blutwurst, Bitte is 15 years in the making.
Photographic Dysplastic
April 12 – April 17, 2011
Opening: Tuesday, April 12, 7 to 9 pm
with:
Sam Ashford, Willis Bigelow, Dannielle Bowman, Rachael Browning, Holly Allen Cooper, Phoebe Gray, Dylan Montgomery, Lucas Moore, Willa Nasatir, John-Elio Reitman, Sydney Shen, Masha Vlasova
Organized by The School of Art at The Cooper Union
Gallery hours for this exhibition:
Wednesday – Sunday, 1 to 6 pm
pho·to·graph·ic [foh-tuh-graf-ik] –adjective
1. of or pertaining to photography.
2. suggestive of a photograph; extremely realistic and detailed: photographic accuracy.
3. remembering, reproducing, or functioning with the precision of a photograph: a photographic memory.
dysplastic [dis-plas-tik from dis-play-zhuh, -zhee-uh, -zee-uh]–adjective
(from the Greek δυσπλασία “malformation”, δυσ- “mal-” + πλάθω “to create, to form”), is a term used in pathology to refer to an abnormality of development. This generally consists of an expansion of immature cells, with a corresponding decrease in the number and location of mature cells.
Photographic Dysplastic is a group exhibition featuring 12 students from The School of Art at The Cooper Union whose projects respond to a 21st century question concerning the state of information and image over-saturation. As our digital image culture becomes increasingly shaped by Flickr, Google, and other internet technologies, the sheer saturation of images seems to suggest that the contemporary moment is now an infinite bargain-bin of surreal and banal moments captured, uploaded, and archived on the net. When virtually every type of image has been seen, and is expected to be seen, what are the implications for the striking, strange, and uncanny? The artists in Photographic Dysplastic are asking where we go next: what happens when an artist’s process evokes the photographic, yet no image is taken? What happens when a photographic series becomes an event, leaving merely residue for anyone who missed it? Interrogating the difference that separates “photographs” from “images,” the exhibition suggests that the surface of a photograph is not just a computer screen, but also something more tangible and present, a record that exists as both a spatial and temporal index. The contemporary moment has reinvigorated an artistic dialog around t he photograph as an experiential, tangible object, and this exhibition begins with these queries and limits.
CityArts Article: Schiele~Kelly
Posted November 24, 2010 at 12:41 pm
Egon, Baby, Gone
John Kelly’s renowned dance performance with Schiele takes its final bow
by Nick Curley, CityArtsnyc.com
Since its humble beginnings 28 years ago, John Kelly’s Pass the Blutwurst, Bitte has been a night of theater that arouses the heart, loins and mind. The seminal performance piece has since played throughout Europe, won an Obie Award and made Kelly a patron saint of the East Village’s avant-garde. A bombastic study of early 20th-century Austrian painter Egon Schiele, Blutwurst returns Dec. 2 to La MaMa, in what’s being billed as its final run—ever. It’s half of a one-two punch that begins Nov. 23 at La Galleria with Schiele-Kelly, a solo exhibition of self-portraits in which Kelly uniquely photographs himself portraying the painter.
“Schiele’s a conjurer, but a bit out of control: the definitive adolescent brat,” explains Kelly with a wry smile. “His pushing of the envelope got him in trouble. He’s like the James Dean of Austria.”
To meet Kelly is to meet a man fit for the part. While no one would mistake him for an adolescent brat, he’s maintained a dancer’s physique of wiry muscle and smoldering eyes. Joining Kelly are two essentials from Blutwurst’s prior incarnations: Anthony Chase, the self-taught filmmaker of the show’s 16mm movies projected onstage, and Stan Pressner, a seasoned, jovial lighting designer who’s taught at Julliard, UCLA and NYU. It’s a team that, for Kelly, embodies “cooperation, contribution and minimum of ego.”
Schiele’s paintings—notorious for their contorted nudes and vivid color—first captivated Kelly in his studies at Parsons The New School for Design. “There was so much social information in each line,” Kelly says. “In our fashion illustration class, we studied porno models and bikers, and we were very much influenced by Schiele’s edge of sexuality.”
Prior to art school, Kelly was a prodigy, training at the American Ballet Theatre. The wild gesticulation of Schiele’s figures seemed ripe for realization onstage. He first performed a 10-minute tribute to Schiele in 1982 at East Village staple The Pyramid Club. “It was a great time because real estate was affordable,” Kelly says. “There’s no physical bohemia left in Manhattan, only virtual bohemia.” It was at the Pyramid that Kelly met Chase, a recent émigré fond of shooting experimental films with the Super 8 camera he’d brought from his native South Africa. In the Pyramid’s basement, they produced the first footage of Kelly as Schiele, drawing self-portraits on glass and inventing raucous, jarring choreography. “It was always done on zero budget!” Chase exclaims. “I enjoy getting production value out of nothing.”
This year’s Blutwurst features new dances performed by Kelly and his doppelgangers, the Alter Egons. Other scenes have been rewritten, reshot or set to new music. “I’m using the bones, but altering the flesh a bit,” says Kelly, employing appropriately anatomical words for a work about Schiele.
Pressner goes one step further by stating: “John’s now feeling more of a humanity about Egon.” Pressner characterizes the show’s last run at La MaMa in 1995 as “angular and shadowed, with a kind of Prussian sensibility,” and considers today’s version something rounder and warmer. “Yet one of the interesting things about La MaMa is that it doesn’t change,” he adds. “It has a rough-hewn beauty and the kind of flexible space you want as an artist.”
So why then is this Blutwurst’s last hurrah? “Schiele died when he was 28,” Kelly explains. “So there’s vitality attached to it.” The artist worked fast: When he met his early demise from an influenza epidemic in 1910, Schiele was arguably the most successful artist in Austria. “Still, I’m jumping around better than I thought I would,” Kelly says.
Being able to jump at all these days is something for which Kelly is immensely grateful. In 2004 he broke his neck in a trapeze accident after slipping out of a harness during rehearsals, fracturing his fourth and sixth vertebrae. He spent 15 hours in St. Vincent’s Hospital, his doctors unsure if he would ever walk again. “It was a real rupture in my life,” Kelly says. “I wound up questioning everything and still can’t fathom that catastrophic lapse in concentration.”
Shaken up, Kelly took on fellowships at the American Academy in Rome, followed by Radcliffe for a year. He taught at Harvard, and starred in “A Clerk’s Tale,” a short film directed by James Franco that debuted this year at Cannes. Yet at every opportunity, La MaMa’s Artistic Director Ellen Stewart asked Kelly to bring Blutwurst back for another blutletting. “This is a gift to Ellen, who’s been very good to me throughout my career,” Kelly says.
Among these new endeavors were photographs taken this summer in Italy that comprise Schiele-Kelly, and find Kelly tangled up in an array of akimbo poses. The result is a stark biography akin to method acting, and wholly impressive imagery: rich in hue, emotionally taut and true to Schiele’s watercolors without painting-by-numbers.
Yet even amidst so much retrospection, Blutwurst’s creators have no urge to impose morals onto their diverse audience. “To quote David Gordon,” Pressner says, “‘What we want them to take away is their handbag.’” But in producing work as original as it is reverential, the Blutwurst gang offers something memorable: Exquisite art ably refracted into weird new mediums. In short, it’s a rapturous mutation that would titillate young Egon himself.
Virginia Poundstone: Pumping Liquidity into the System
March 29 – April 9, 2011
Opening Reception: Tuesday, March 29th from 6 to 9pm
Nada Tunnel is an early twentieth century infrastructure carved out by hand and dynamite to create an access route to the old growth forest of the Red River Gorge for the timber industry. Surrounded by mountains, the forest was previously inaccessible to commerce. The graffiti-covered tunnel is now known by the locals as a dangerous place where people are robbed.
Earthwork.
Photographs on vinyl and steel.
Ceramic cast into concrete.
Pierced by metal.
Crumpled combinations responding to a recent drive-through of Nada Tunnel.
New York-based artist Virginia Poundstone’s work investigates our civilization’s control of the natural world. For this show, she has returned to her native Kentucky to investigate the Nada Tunnel, a man-made hole in a mountain that leads to the Daniel Boone National Forest. She spent many years hunting wildflowers and rock climbing in the region. Her work was recently included in Knight’s Move at Sculpture Center in 2010. She currently has a project on view for Works Sited at the Los Angeles Central Library and in April she will have a solo project at Second-Floor in Brooklyn, NY. She received her MFA from Columbia University.
nytheatre.com Review: In Retrospect
Posted November 18, 2010 at 2:02 pm
nytheatre.com review
by Martin Denton
A program note by Federico Restrepo tells us that In Retrospect “investigates how we construct our personal memory box: how we keep our memories fresh and preserve the things that made us who we are.” Restrepo and co-conceiver/creator Denise Greber use a variety of theatrical forms and devices to do this, mostly dance and movement, but also film, puppetry, and mask. For me the show resonated more as an exploration of theatricality, and how it can convey meaning, mood, emotion, and feeling without narrative or throughline. The invention and wit of In Retrospect, along with the sheer joy its performers are able to communicate within it, made this a memorable experience to ponder and treasure; from my perspective, it was all about the sense of wonder that Restrepo and his collaborators inspired in my heart as I watched.
The piece, which is nearly an hour long, is divided into a number of live performance segments, in between which are brief videos that sometimes comment on and sometimes more subtly inform the rest of the show. All of the performance segments are based in dance, gracefully and vigorously performed by Restrepo (who also choreographed), Sara Galassini, and Allison Hiroto. Some of these are reflective: Restrepo dances among a stageful of memories in the opening, for example, and there’s a fascinating introspective piece later on in which Galassini and Hiroto go through an almost ritualized examination of the masks we acquire as we grow older.
Many of the vignettes are delightfully playful. Galassini tries to master a giant telephone that seems to have sprung to life, an echo of the way many of us must feel these days with our communication devices. Hiroto appears in a sequence as a dreamer on a pillow, in which the flower garden she’s dreaming about morphs, as dreams do, into an underwater adventure involving some playful fish. And Restrepo has a dance in which his partner is a gigantic pair of legs and feet—a tiny babe and its mother, perhaps?
What makes In Retrospect so special is the artistry with which all of its parts have been concocted. Restrepo is also the designer of this piece (puppets, sets, video, lighting) and his work is masterful: the magic of its elements’ illusions never frays, and in both concept and realization, the production is never less than awe-inspiring. Elizabeth Swados’s music (played live by Sebastian Quiroga and Yukio Tsuji, who also provide additional composition) is similarly thrilling. Greber’s costumes complete the stage pictures perfectly. As is La MaMa’s hallmark, the collaboration reflects many cultures and theatre styles, and rather than clashing or even feeling mashed-up, they blend into a remarkable hybrid that reminds us how much there is to learn from our peers and colleagues.
Puppeteers Beatrice Davies and Kiku Sakai also contribute mightily to the show’s effectiveness, working with full-body puppets in several terrific sequences. Restrepo, Galassini, and Hiroto operate extraordinary marionette manifestations of themselves (dressed in coordinating costumes!) in my favorite section of the show.
The surprises of In Retrospect—and the subtle profundity—urge me not to give too much more away about what happens; this is a show that I think anyone ready to open themselves up to the world of theatrical possibility, of any age, will come away from with some pure gold.
Great Jones Repertory with Mia Yoo (#100)
March 26, 2011 at 3:00pm
NY Times Review: Broken Nails
Posted November 17, 2010 at 1:40 pm
A Star Who Needs Help, or at Least a Hand
by Anita Gates, NY Times
Don’t you hate it when puppets make eye contact and just glare at you? This is especially unnerving when the puppet is life-size and looks like Marlene Dietrich in her later years.
That is exactly the sort of thing risked by anyone seeing “Broken Nails: A Marlene Dietrich Dialogue,” especially at the front tables of La MaMa E.T.C.’s upstairs cafe-theater. “Broken Nails,” presented by La MaMa with the Polish Cultural Institute of New York, is a slyly fascinating one-woman show (two-woman, if you count the puppet) performed skillfully and with a haunting mix of wit and gravity by Anna Skubik, an award-winning Polish puppeteer and actress.
This is a bare-bones production, yet it’s glamorous. The set consists only of an old trunk, which opens to reveal beautiful costumes on hangers, a dressing table, a lighted makeup mirror and a bentwood chair. The Dietrich puppet is a no-frills model, but she’s dressed in a slinky gold brocade gown — just the sort of thing the real Dietrich might have worn in her nightclub appearances.
Dietrich died in Paris in 1992 at 90. “Broken Nails” takes place at some point during those last years and revolves around Dietrich and her maid, Gloria, who have become weirdly co-dependent. The relationship seems largely hostile. Marlene, whom Gloria always calls “madame,” probably envies her employee’s youth and beauty. But it’s a good thing that Gloria is there because, as Marlene complains, “everyone left me years ago.” There is also a suggestion of sexual desire between the women.
Romuald Wicza-Pokojski wrote and directed “Broken Nails.” But Ms. Skubik created the show, along with Mr. Wicza-Pokojski’s Wiczy Teatr in Torun, Poland. And with Barbara Poczwardowska she designed the puppet, a memorable and terribly sad creation, especially when it sings or says things like, “Fame is such a little word.” It is also the first puppet that I have ever seen getting a massage.
It Happened One Summer
March 17 – March 18, 2011 at 7:00pm
10 emerging playwrights who participated the La MaMa Umbria’s 4th International Playwright Retreat will be showcased in La MaMa Umbria Festival of New Plays in New York.
These exciting, new plays include both comedies and dramas and are acted by some of the most talented actors in New York, many of them members of The HB Ensemble group. Participating directors not only get the chance to work with emerging playwrights, but to explore new genres and expand their own resumes.
The founder of La MaMa, the late Ellen Stewart, would typically appear onstage before a performance, ring a cowbell and announce La MaMa’s dedication “to the playwright and all aspects of the theater.” This festival is dedicated to her spirit of risk-taking and promoting new work for the stage.
Click HERE for reservations
Festival Lineup
Series A – March 17, 2011
Charlie: An abridged love story, by MT Cozzola,
A New Work by Nancy Ewing
Performing Tonight: Liza Minelli’s Daughter, by Mary Fons
Model Behavior, by Hortense Gerardo
XTIGONE:a lyrical adaptation of ANTIGONE, by Nambi E. Kelley
Small Packages, by Dianna Lewis
Voracious, by Susan McCully
Edelstein the Poet, by Michael Stang
A New Work by Phyllis Stickney
Series B, March 18, 2011
Charlie: An abridged love story, by MT Cozzola
A New Work by Nancy Ewing
Performing Tonight: Liza Minelli’s Daughter, by Mary Fons
Edelstein the Poet, by Michael Stang
XTIGONE: a lyrical adaptation of ANTIGONE, by Nambi E. Kelley
Small Packages, by Dianna Lewis
Voracious, by Susan McCully
The Last Glance, by Hortense Gerardo
A New Work by Phyllis Stickney
Suggested donations $5
OffOffOnline Review: In Retrospect
Posted November 14, 2010 at 11:04 pm
A Place for Remembering
by Kelly Aliano
offoffonline.com
There are many ways to tell a story. One can use language to convey meaning, one can provide images to depict what happened, or one can use the body to elucidate what the physical experience was like. In LOCO7’s new puppet piece at LaMaMa, In Retrospect, all of these elements are used. The piece works as a full sensory experience designed to get at the heart of memory and how it makes us human. The piece is often beautiful and poignant, filled with performative images that an audience member will not soon forget.
To attempt to tease out a narrative plot from this piece would be a futile effort. Federico Restrepo, the piece’s co-creator, has written in the program that “this piece investigates how we construct our personal memory box: how we keep our memories fresh and preserve the things that made us who we are.” Indeed, there is the sense in this play that the audience is stepping into the personal memories of the people on stage. We are shown various images to which the three performers react, be they glass balls with photos in them that fall from the sky, a fabric wall of fishes, or an oversized and overstuffed touchtone phone. From the moment we move behind the play’s first image, that of three individuals staring out of their respective apartment windows, we have left the realm of distanced, fourth-wall, representational performance and entered something else entirely, something deeply personal.
New York Times Review: The Painted Bird | Bastard
Posted November 13, 2010 at 1:48 am
Ground Time for the Flockless Bird
By GIA KOURLA
New York Times
Pavel Zustiak’s latest dance begins, as many seem to these days, with slightly sinister underpinnings: there is a darkened, empty stage and an ominous grumble of an electronic score. But his opening creates some spooky distance for a reason. Mr. Zustiak’s new piece, “Bastard,” the first part of a trilogy, “The Painted Bird,” is loosely inspired by Jerzy Kosinski’s novel of that title about a boy making his way through Europe during World War II.
During his wanderings, he watches a man capture a bird, paint its feathers and send it back into the air, where the rest of the flock rips it to shreds. That notion of the other, or the outsider, is the thrust behind Mr. Zustiak’s work, put on by his performance company, Palissimo, at the Ellen Stewart Theater at the La MaMa Annex on Thursday evening. In the book the boy represents innocence in the face of brutality, or war. And in the dance Jaro Vinarsky makes his way through a war-torn landscape, real or imagined. He is piercing.
An Evening Celebrating Cheryl Henson on YouTube!
Posted November 10, 2010 at 5:44 pm
October 25, 2010 at Ellen Stewart Theatre
Love IsReal
March 24 – April 10, 2011
An exhibition of several photograph series created by artist collective Flowerpower Squared, two female artists who have worked together for nearly 20 years. Being mothers who live and raise children in Israel – a country run by retired Generals, the art they make is a silent voice for peace. They proudly raise a white flag, out of a truthful creed in humanism and dialog, out of aspiration to put an end to an unnecessary struggle.
Marilyn Torres
February 28, 2011 at 8pm
Marilyn Torres was born and raised in Harlem New York. She’s appeared in Maid in Manhattan, Lady in the Water and Bernard and Doris. Her television credits include Law & Order, Law & Order SVU, Flight of the Concords, The Unusuals and The Chris Rock Show. Marilyn was in Agony of the Agony at The Vineyard Theart and Breath Boom at Yale Rep. She was also part of The Tribeca Theater Festival produced by Robert Dinero. The piece in which she appeared, Late Night, Early Morning went on to win Jury Prize for Best Theater Piece at the HBO Comedy Arts Festival. Ms. Torres is proud of her teaching artist work which allows her to share her knowledge of the arts with students around New York.
Marilyn’s last solo piece was SNAP SHOTS which as an array of characters exploring everyday life issues.
She now will begin workshopping her new UNTITLED piece which will explore the affects of abuse in different forms towards women and men.
The Gazette Montreal: Waiting for the Dream
Posted November 3, 2010 at 3:36 pm
A summer dream well worth the wait
Director Irina Brook brings her En attendant le Songe to Usine C
By PAT DONNELLY, The Gazette
Growing up with a famous theatre director (Peter Brook) for a father, and a noted actor (Natasha Parry) for a mother, Irina Brook got an early start in the theatre.
But she spent many years as a not-so-successful actor before she found her true calling, as a director -one who has been piling up the accolades during the past decade.
Brook, now in her 40s, recently spoke to The Gazette at Usine C. She was about to begin a Quebec tour of her En attendant le Songe (Waiting for the Dream), an adaptation of William Shakespeare’s A Midsummer Night’s Dream, before taking it to New York City.
Paradox of Heap
By East Coast Artists
February 24 – March 13, 2011
World Premier
If we define a heap by its mass, when does a heap stop being a heap as you remove its individual components particle by particle? Consider a flock and its parts, or a pile … or identity. Possessing a collection of memories, what does the loss of one memory mean? ECA fuses poetry and dance to explore this famous riddle of collections and re-collections.
Waiting for the Dream in The Week Ahead, New York Times
Posted November 2, 2010 at 12:47 pm
Theater
by Steven McElroy
Irina Brook was only 8 when her father, Peter Brook, brought his Royal Shakespeare Company production of “A Midsummer Night’s Dream” to New York in 1971. Mr. Brook’s show prompted Clive Barnes to write, in his review in The New York Times, “This is without any equivocation whatsoever the greatest production of Shakespeare I have ever seen in my life.”
”The girl who saw her father’s seminal production more than 50 times is now a director. And she also has a version of “Midsummer” in her arsenal. “WAITING FOR THE DREAM” employs only six men to play every fairy, lover and rude mechanical in Ms. Brook’s adaptation. The minimalist production was first presented in 2005 with the idea that it would be performed just a few times, outdoors, in and around Paris. It has traveled to Italy, Spain and Poland, among other places, but not to the United States until now. Wednesday through Nov. 7, La MaMa E.T.C., 74A East Fourth Street, East Village,(212) 475-7710, lamama.org; $24.
Dutch A/V
By Reggie Watts and Tommy Smith
January 5 – January 16, 2011
PLEASE NOTE – IRREGULAR PERFORMANCE TIMES:
NO LATE SEATING
Wed 1/5 9:00pm
Thu 1/6 4:30pm
Fri 1/7 9:00pm
Sat 1/8 9:00pm
Sun 1/9 9:00pm
Mon 1/10 9:00pm
Wed 1/12 9:00pm
Thu 1/13 9:00pm
Fri 1/14 9:00pm
Sat 1/15 9:00pm
Sun 1/16 9:00pm
A live-edited environmental film that seeks to replicate the first hand experience of being a flâneur in another city, Dutch A/V re-presents footage shot in Holland’s cities using projection technology and stereophonic sound, turning the interior space into portals to a foreign landscape thousands of miles away.
Women’s Words
November 22, 2010 at 8pm
Celebrate female lyricism straight from the streets of NYC. Ilka Scobie returns with a line-up of diverse divas including: Elia Monte-Brown, Pat Cleveland, Tavi Fields, Angelica Ippolito, Ruth Oisteanu, Liza Jesse Peterson, Jackie Sheeler.
Ilka Scobie
Pat Cleveland
In addition to modeling, Pat Cleveland has performed, singing and dancing on stage in Let My People Come on Broadway; acted in several foreign films including “Rio Babilônia” (Brazil), “Iago Shakespeare” (Italy), “Sotto il vestito niente” (Italy) and “Hair, The Musical” (Mexico); and has appeared in cameo parts for The Devil Wears Prada, “Sex and the City: The Movie” and most recently on “America’s Next Top Model”. A superstar in Italy, Pat has recorded original lyrics written for Joe T. Vanelli and published a book of poems, In The Spirit of Grace, also published in English. Pat resides in the US, currently writing her autobiography. She lives with her husband Paul Ravenstein and two children, Anna & Noel.
Tavi Fields
Tavi Fields is a brooklyn-based independent hip-hop artist.
Hobbies: Performing w/ her 8-piece band, Mamarazzi; Audio Engineering
Where u can see/hear more:
rawrhymes.wordpress.com
www.mamarazzisounds.com
Jackie Sheeler
Jackie Sheeler is an award-winning poet and songwriter with two CDs and four books under her belt so far. Her most recent collection, “Earthquake Came to Harlem,” was just published by NY Quarterly Books. An occasional blogger and card-carrying activist, Jackie enjoys committing random acts of kindness and random acts of righteous indignation in equal measure.
La MaMa Moves Teen Dance Festival: A New Generation
November 26 – November 28, 2010
PLEASE NOTE: Friday & Saturday at 7:30pm, Sunday at 2:00pm
East Village Dance Project (EVDP), a youth dance program, has been developing over the last 14 years under the direction of Martha Tornay. The three-day Teen Dance Festival will feature dance by teens from programs all over NYC, including choreography by EVDP Junior Company.