Double your pleasure! A second opinion on a powerful show

Karl Anderson and Kate Weare

Dance Theater Workshop

Friday and Saturday at 7

“A Picture and a Thousand Words,” shared by Anderson and Weare, needs no words. Five new dances and Anderson’s memorable 2001 solo Embracing Nothingness offer a satisfying experience of the nonverbal and nonlinear. Designer Jay Ryan turns performers into apparitions or eruptions of light in a dark netherworld. Two Cell Series, made and danced by Weare and Melanie Maar, consists of sheathed, worm-like bodies eschewing verticality and traveling steps—the stride of the conscious mind—for slow, floor-hugging, propulsive rippling and sickling of bare torsos. Squint to Focus, Anderson’s assertive and complex women’s trio, uses every level, streaming in and out of pockets of space. The collaborative duet, Intercourse, impresses most of all—Anderson and Weare’s snapped-to, interlocking moves quickening our energy as we watch.

Talking about the past illuminates the present at 92 on 42

From the Horse’s Mouth—chapter 20

The Duke on 42nd Street


In the latest chapter of From the Horse’s Mouth—the living documentary of dance history dreamed up in 1998 by Tina Croll and James Cunningham—an array of performers honored seven decades of dance at the 92nd Street Y and the 10th anniversary of the Y’s Harkness Dance Project. Ballet, modern, ethnic, tap, downtown, hip-hop: If it’s dancing, the Y has had a hand in it. While each of numerous dancers sat to relate funny or rich personal tales, others improvised movements from suggestions drawn by chance. These moves framed the teller, colored by each mover’s characteristic style. For 90 scrumptious minutes, the Duke became the Y, visited by vivid memories, haunted by everyone from Diana Byer skittering in pointe shoes and roses to Lawrence Goldhuber tumbling in a nude fat suit. To the Y and its progeny: Good show! Party on!

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