Eleanor Bauer: Bauer Hour from Marin Media Lab on Vimeo.

BAUER HOUR (at the final hour) feat. PECK SEC
conceived and performed by Eleanor Bauer with Chris Peck and special surprise guests

Eleanor Bauer (director, creator, performer) is an American choreographer and dancer based in Brussels, Belgium. She studied at NYU Tisch School of the Arts (BFA in Dance, 2003) and P.A.R.T.S. (Research Cycle, 2006). Her pieces ELEANOR! (solo, 2005), At Large (trio, 2008), The Heather Lang Show by Eleanor Bauer and Vice Versus: Trash is Fierce, Episode 1 (duo, 2009), (BIG GIRLS DO BIG THINGS) (solo, 2010), and The Heather Lang Show by Eleanor Bauer and Vice Versus (duo, 2012), have toured internationally to critical acclaim. Her latest work is a trilogy, consisting of A Dance for the Newest Age (the triangle piece)(sextet, 2011), Tentative Assembly (the tent piece) (nonet, 2012) and Midday & Eternity (the time piece), (trio 2013). The trilogy deals with triads such as past-present-future and science-politics-spirituality to approach the wholistic nature of dance and choreography. In 2013 she launched BAUER HOUR, an episodic variety show created uniquely according to date and location, running monthly at Kaaistudios in Brussels and punctually on tour elsewhere. Bauer is an artist in residence at Kaaitheater in Brussels from 2013-2016.

Bauer has also created or participated in specific projects such as heart the band, a long-distance performance collective with Beth Gill, Chris Peck, Jon Moniaci and Chase Granoff, performing intermittently since 2004; Dig My Aura, a solo for YouTube made in 2006; B-Chronicles, a sociological research project on mobility and trans-nationality in the Brussels and international dance communities conducted by Sarma in 2006-2007; 6M1L (6 Months 1 Location), a group research project at CCNM in Montpellier initiated by Xavier Le Roy and Bojana Cvejic in 2008; parliament without words, a performance for beings/things made with PARTS students for Kaaitheater’sSpoken World festival in 2012, and such events as walk+talk in March 2011 at Kaaistudios initiated by Philipp Gehmacher, expo-zero by musée de la danse at Performa 11 in New York in November 2011, and Hannah Hurtzig’sBlack Market of Useful and Non-Useful Knowledge at In-Presentable Festival, Madrid, June 2012. In 2013, she was presented as a soloist in the Venice Biennale of Dance, hosted Prix Jardin d’Europe Awards ceremony at ImPulsTanz in Vienna, and choreographed a piece for the 20th anniversary of Bal Moderne. In 2014, she will joinIctus Ensemble, performing original compositions made in collaboration with Chris Peck for the concert This Is Not A Pop Song (II).

As a performer, Eleanor has worked with, among others, David Zambrano (Soul Project), Mette Ingvartsen (why we love action), Trisha Brown (Accumulation and Floor of the Forest at documenta12), Xavier Le Roy (low pieces), Rosas/Anne Teresa de Keersmaeker (The Song), Boris Charmatz (enfant, levee des conflits), Matthew Barney (River of Fundament), Emily Roysdon (By Any Other Name), and Ictus Ensemble (This Is Not A Pop Song (II)).

Bauer’s writings on dance have been published in New York’s Movement Research Performance Journal, The Swedish Dance History, Maska (Ljubjana), NDT by Contredanse (Brussels), and in various publications by Sarma, everybody’s, Nadine, and P.A.R.T.S.. She has taught or given workshops at New York University Tisch School of the Arts (2007), CCNMontpellier/ex.e.r.ce (2008), Tanz Quartier Wien (2008), Dartington College of Arts at Falmouth University (2010), P.A.R.T.S. (2010-present), The Place, London (2011), Konstnärsnämnden (The Swedish Art Grants Committee), Stockholm (2012), CCN Lyon @ Rhizome (2013), Circuit-Est Centre chorégraphique, Montreal (2013), HOT BED, Melbourne (2013), and the Stompin’ Youth Choreographic Project Tasmania (2013).

Chris Peck is a composer who often collaborates with contemporary dance and theatre artists, including David Dorfman, John Jasperse, RoseAnne Spradlin, Jeanine Durning, Mark Jarecki, Abby Yager, Ming Yang/Dance Forum Taipei, and Beth Gill. Recently he has collaborated on numerous pieces with choreographer Milka Djordjevich, including her solo at The Chocolate Factory Theater in NYC last April. Peck performs as an improviser with Crystal Mooncone along with Jon Moniaci and Stephen Rush. The trio’s new album Escape Cone Listening Beam III was released in May by the Deep Listening Institute. They are planning a west coast tour for March 2014. Peck collaborated with Deke Weaver and Jennifer Allen on Land of Plenty in 2008-2010, and made music for two installments of Weaver’s Unreliable Bestiary: Elephant in 2010-11 (performing in the premiere at the Stock Pavilion in Urbana as well as subsequent iterations at the Sundance Film Festival and Salt Lake Arts Center) and Wolf in 2013. Chris is currently working on several projects with Brussels-based choreographer Eleanor Bauer, including music for Midday & Eternity (US premiere January 2014 at the American Realness Festival in NYC). He is also pursuing a Ph.D. in Composition and Computer Technologies at the University of Virginia.

COMING SOON!

Eleanor Bauer: Midday and Eternity (the time piece) from Robbrecht Desmet on Vimeo.

Eleanor Bauer: Midday and Eternity from Marin Media Lab on Vimeo.

Chris Peck: Midday and Eternity from Marin Media Lab on Vimeo.

direction by Eleanor Bauer
creation & performance by Eleanor Bauer, Cecilia Eliceche, Rebecka Stillman
costumes by Ada Rajszys
music by Chris Peck
text by Eleanor Bauer, Cecilia Eliceche, and Rebecka Stillman

Special thanks to Nathan John, The Wild Unknown

Eleanor Bauer (director, creator, performer) is an American choreographer and dancer based in Brussels, Belgium. She studied at NYU Tisch School of the Arts (BFA in Dance, 2003) and P.A.R.T.S. (Research Cycle, 2006). Her pieces ELEANOR! (solo, 2005), At Large (trio, 2008), The Heather Lang Show by Eleanor Bauer and Vice Versus: Trash is Fierce, Episode 1 (duo, 2009), (BIG GIRLS DO BIG THINGS) (solo, 2010), and The Heather Lang Show by Eleanor Bauer and Vice Versus (duo, 2012), have toured internationally to critical acclaim. Her latest work is a trilogy, consisting of A Dance for the Newest Age (the triangle piece)(sextet, 2011), Tentative Assembly (the tent piece) (nonet, 2012) and Midday & Eternity (the time piece), (trio 2013). The trilogy deals with triads such as past-present-future and science-politics-spirituality to approach the wholistic nature of dance and choreography. In 2013 she launched BAUER HOUR, an episodic variety show created uniquely according to date and location, running monthly at Kaaistudios in Brussels and punctually on tour elsewhere. Bauer is an artist in residence at Kaaitheater in Brussels from 2013-2016.

Bauer has also created or participated in specific projects such as heart the band, a long-distance performance collective with Beth Gill, Chris Peck, Jon Moniaci and Chase Granoff, performing intermittently since 2004; Dig My Aura, a solo for YouTube made in 2006; B-Chronicles, a sociological research project on mobility and trans-nationality in the Brussels and international dance communities conducted by Sarma in 2006-2007; 6M1L (6 Months 1 Location), a group research project at CCNM in Montpellier initiated by Xavier Le Roy and Bojana Cvejic in 2008; parliament without words, a performance for beings/things made with PARTS students for Kaaitheater’sSpoken World festival in 2012, and such events as walk+talk in March 2011 at Kaaistudios initiated by Philipp Gehmacher, expo-zero by musée de la danse at Performa 11 in New York in November 2011, and Hannah Hurtzig’sBlack Market of Useful and Non-Useful Knowledge at In-Presentable Festival, Madrid, June 2012. In 2013, she was presented as a soloist in the Venice Biennale of Dance, hosted Prix Jardin d’Europe Awards ceremony at ImPulsTanz in Vienna, and choreographed a piece for the 20th anniversary of Bal Moderne. In 2014, she will joinIctus Ensemble, performing original compositions made in collaboration with Chris Peck for the concert This Is Not A Pop Song (II).

As a performer, Eleanor has worked with, among others, David Zambrano (Soul Project), Mette Ingvartsen (why we love action), Trisha Brown (Accumulation and Floor of the Forest at documenta12), Xavier Le Roy (low pieces), Rosas/Anne Teresa de Keersmaeker (The Song), Boris Charmatz (enfant, levee des conflits), Matthew Barney (River of Fundament), Emily Roysdon (By Any Other Name), and Ictus Ensemble (This Is Not A Pop Song (II)).

Bauer’s writings on dance have been published in New York’s Movement Research Performance Journal, The Swedish Dance History, Maska (Ljubjana), NDT by Contredanse (Brussels), and in various publications by Sarma, everybody’s, Nadine, and P.A.R.T.S.. She has taught or given workshops at New York University Tisch School of the Arts (2007), CCNMontpellier/ex.e.r.ce (2008), Tanz Quartier Wien (2008), Dartington College of Arts at Falmouth University (2010), P.A.R.T.S. (2010-present), The Place, London (2011), Konstnärsnämnden (The Swedish Art Grants Committee), Stockholm (2012), CCN Lyon @ Rhizome (2013), Circuit-Est Centre chorégraphique, Montreal (2013), HOT BED, Melbourne (2013), and the Stompin’ Youth Choreographic Project Tasmania (2013).

Eleanor Bauer: dansen in the big picture
Article (in Dutch) by Ive Stevenheydens
Published September 16, 2013

Concept & Dance: Eszter Salamon
Music: John Cage
Organisation: Alexandra Wellensiek

Thanks to: Shaina Anand and Ashok Sukumaran/CAMP, Bojana Cvéjic, Paf-St. Erme, Jan Ritsema

Eszter Salamon (choreographer & performer) is a Berlin-based choreographer, dancer, and performer whose work has been presented widely in Europe and Asia. She is the author of the solos “What A Body You Have, Honey” (2001) and “Giszelle” (2001) in collaboration with Xavier Le Roy, “Reproduction” (2004), a piece for eight dancers, “Magyar Tàncok” (2005) with Hungarian folk dancers and musicians, “Nvsbl” (2006), a film-choreography in collaboration with Bojana Cvejic, “AND THEN” (2007), and, together with Arantxa Martinez, the concert-performance “Without You I Am Nothing” (2007) starring Lukas Minkus and Ramon Pozo, “Dance#1/Driftworks” (2008), in collaboration with Christine De Smedt, “Voice Over” (2009), a piece commissioned and interpreted by Cristina Rizzo, “Dance for Nothing” (2010) and, with Bojana Cvejic, Cédric Dambrain and Terre Thaemlitz, “TALES OF THE BODILESS” (2011).

Her work has been widely presented in Europe and Asia. As a dancer, she collaborated with Sidonie Rochon, Mathilde Monnier and François Verret. Her work in music theatre includes assistance to the opera “Theater der Wiederholungen” (2003) by Bernhard Lang, staged by Xavier Le Roy at Steirischer Herbst Festival, Graz, and staging the music of Karim Haddad for the project “Seven attempted escapes from Silence” (2005) at Staatsoper Unter den Linden, Berlin. In 2008, she participated in 6Month1Location, an artistic research project based on self-organisation and self-education at CCN Montpellier. In 2009, together with the same group of artists, she co-curated and took part in the festival In-Presentable09, Madrid.

In 2009, Eszter Salamon developed “Transformers” with Christine De Smedt, a research project for a group choreography through workshops and artist residencies in Brussels, Madrid, PAF-St. Erme, Mexico City, Vienna, Tokyo and Stockholm. Following on from “Transformers”, Salamon and De Smedt presented during ImpulsTanz 2011 in Vienna their duet piece “Dance#2″. “Melodrama” is a solo ‘documentary performance’, which premiered in June 2012 as part of Berlin Documentary Forum 2 at Haus der Kulturen der Welt, Berlin.

COMING SOON!

Eleanor Bauer: dansen in the big picture
Article (in Dutch) by Ive Stevenheydens
Published September 16, 2013

choreographed and performed by Rebecca Patek in collaboration with Sam Roeck and Olen Holm
video by Rebecca Patek and Vincent Lafrance
music by Johnny Cash, The Verve, JS Bach

Rebecca Patek (choreographer & performer) is a New York-based choreographer and performance artist creating work that synthesizes dance, theater and comedy. Patek was an Artist in Residence at Movement Research (2011 to 2013). She was also awarded a 2010-11 Residency at Dance Theater Workshop( New York Live Arts). She has attended residencies at the Atlantic Center for the Arts, and at Earthdance as part of the E/merge Artist Residency.Patek’s work has been presented at The Museum of Arts and Design, The Chocolate Factory Theater,  Abrons Art Center as part of Festival TBD: Emergency Glitter, Dance Theater Workshop, 92nd Street Y, Movement Research at Judson Church, Brooklyn Arts Exchange,The Joyce Soho, Dixon Place, Mulberry Street Theatre, The Tank, Aunts, Triskelion Arts, The LoFt, The Overture Center (Madison WI), Brickyard Pond (NH) and Nexus Foundation for Today’s Art, among other venues. Recent works commissioned include “you and i of the storm” for the Museum of Arts and Design, and “Real Eyes” for The Chocolate Factory Theater.

Sam Roeck (performer) is a visual artist who has worked in collaboration with Liz Santoro, Ryan McNamara, Rebecca Patek and Jack Ferver. His own work has been shown at White Columns, Josée Bienvenu Gallery, Elizabeth Dee Gallery, Envoy Gallery, The Times Square Arts Center, The Peoples Improv Theater, Noma Gallery San Francisco, 301 Gallery Baltimore, and the Queens Comedy Center.  In 2012, he curated “Making Friends” a performance and dance series at Josée Bienvenu Gallery, NY.  He received a BFA from the Maryland Institute College of Art in 2007 and will start work on an MFA in 2014 at Hunter College in New York. He currently lives and works in New York.

“Uncomfortable moments — and dazzling, meandering run-on sentences — are the lifeblood of Ms. Patek’s dance-theater.”
By Gia Kourlas, The New York Times, Published July 28 2013

“Rebecca Patek, who plays the character Rebecca Patek in ineter(a)nal f/ear, is a satirist. In the performance, she performs bursts of grounded, expansive dancing intermittently between video clips and dialogue.”
Culturebot

“The choreographer Rebecca Patek, another talented artist from the festival, is much more explicit in her exploration of sex, yet her intent hovers around its potential for absurdity and shame. In explaining her approach during the discussion at Abrons, she said, “I had the idea of doing comedic pornography.”
By Gia Kourlas, The New York Times, Published July 30 2013

Eleanor Bauer: dansen in the big picture
Article (in Dutch) by Ive Stevenheydens
Published September 16, 2013

conceived, created, text, sound, exhibit, musical arrangements, etc. by Neal Medlyn
costumes by Larry Krone
sculpture by Fawn Krieger
musical director: Matt Ray
lighting by Madeline Best
video by Matthew Romein
production assistant: Katherine Cooper

choir:
Kelly Graffin
Tenzin Reed Gund-Morrow
Ginger McCoy
Nyah Rogers
Julianna Zannikos

performer:
Farris Craddock

King is a project of Creative Capital.

THANK YOUS:
I want to first of all thank everyone who was ever in or worked on any of the pop star series shows: Carmine Covelli and Farris Craddock, forever and always and without whom most of the shows would not have happened; Kenny Mellman; Bridget Everett; Murray Hill; Adrienne Truscott; Layla Robbins; Kennis Hawkins; Will Rawls; Casey Bartolucci; Bridie Coughlan; Adam Horovitz; Ben Demarest; Larry Krone; Shawn McLaughlin; Michelle Dean; Eleanor Hullihan; Madeline Best; Bruce Steinberg; Kelly Graffin; Tenzin Gund; Lily Hickey; Ginger McCoy; Nyah Rogers; Julianna Zannikos; Matt Ray; Matthew Romein; Katherine Cooper; Marianka Campisi and to all the theaters and their curators and staffs who presented the pieces, especially those that premiered the pieces: the Apocalypse Lounge, PS122, Galapagos Art Space, Dance Theater Workshop, the Chocolate Factory and the Kitchen.

I also want to thank Creative Capital whose support was really transformative for me; Antje Oegel for her support; Queen GodIs, Jessica Almasy, Jesse Bonnell and the other Creative Capital grantees whose ideas and thoughts really deeply influenced a lot of things about this show and the culmination of this series; the Millay Colony where Larry did some early work on the costumes; Jim Andralis; Vinny Vigilante for his invaluable thoughts about the sculpture; Jorg Jakoby; Sculpture Center, Sophia Cleary and Samara Davis for work on an early bit of this show; Jennifer Gelman for her early work in the choir; the TBA Festival for presenting some of the shows in the series as well as their valiant efforts at finding old videos of Pop Star Series shows for me; Ada, Oliver, Peter and Brooke; Matthew, Kerry, Tim, Gillian, Nancy, Laura, Caitlin, Lumi, Eben, Zack, Blake, Andrya, Eamonn, Tim P., and everyone at the Kitchen; Alison Fleminger at University Settlement for her generosity with rehearsal space; Materials for the Arts; Ben Pryor and everyone at American Realness; the families of the wonderful choir members in this show; and you, the audience, for coming.

INFLUENCES:
A huge debt of thanks to Margo Jefferson’s On Michael Jackson, works by J.M. Barrie including The Little White Bird, Peter and Wendy, and The Boy Castaways of Black Lake Island, the Wiz, Captain EO, Disneyworld, the Michael Jackson 30th Anniversary TV Special from 2001, the statuary collection of the Metropolitan Museum of Art, Erin Murphy and her amazing videotape collection, The King of Style by Michael Bush, The Picture of Dorian Gray, all of Michael Jackson’s albums, William Pope.L’s The Great White Way, Joseph Vogel’s Man in the Music, Michael Jackson’s films, especially Ghosts and Moonwalker, Rupert Wainwright’s promotional video for HIStory, Snow White by Donald Barthelme, Chroma by Derek Jarman, Gilead and Home by Marilynne Robinson, Freaks, the life and work of: Walt Disney, Little Richard, Mike Kelley, Liberace, Jackie Wilson, P.T. Barnum, My Childhood by Maxim Gorky, the Biblical book of Lamentations, the made for TV movie Man in the Mirror, the horrible and awful Martin Bashir, La Rouchefoucauld’s Maxims, the performance of Earth Song at the 1996 Brit Awards, among others.

Neal Medlyn (creator & performer) is a performance artist best known for his series of pop star-inspired performance pieces, presented in New York and on tour throughout the U.S. and Europe. Previous works in the series are Neal Medlyn’s Lionel Richie Opera (the Apocalypse Lounge), Coming in the Air Tonight (Galapagos Art Space), Unpronounceable Symbol (PS 122), …Her’s a Queen (Dance Theater Workshop), Brave New Girl (The Chocolate Factory) and Wicked Clown Love (The Kitchen). Along with the above venues, Medlyn’s work has been seen at the New Museum for Contemporary Art (The Neal Medlyn Experience Live, a faithful reenactment of a Beyoncè concert DVD), the Andy Warhol Museum, Joe’s Pub, the TBA Festival, the Fusebox Festival and Duckie (UK). He has collaborated with a wide range of other artists, including Karen Finley (George & Martha) and Adam Horovitz of the Beastie Boys (Neal & Bridget Are F**king and Adam is Watching at Le Poisson Rouge), Kathleen Hanna and others. He was a co-creator and co-host of Our Hit Parade, the popular monthly show at Joe’s Pub, which was named among the top cabaret shows in New York for three years. He was active in the dance community as a dancer and a Bessie Award-winning sound designer, working with artists Miguel Gutierrez, Adrienne Truscott and David Neumann, among others, and as a co-curator of and performer in WHY WON’T YOU LET ME BE GREAT an evening of dance works built around Kanye West’s 808s and Heartbreak album. He is also in the process of becoming a rapper named Champagne Jerry and his shows as Champagne Jerry have played at BAM and Joe’s Pub. He is also releasing music once a month via his website, www.champagnejerry.com.

Madeline Best (lighting design), designs dances, lighting and video and is the production manager at The Chocolate Factory. Best graduated from Bennington College, grew up in Durham NC and currently lives in Long Island City, Queens. She has designed lights for Neal Medlyn (this is her 3rd project with him), Heather Kravas, Molly Lieber and Eleanor Smith, Keely Garfield, Milka Djordjevich, Aki Sasamoto, Beth Gill (Bessie award winning), RoseAnne Spradlin, luciana achugar’s PURO DESEO (Bessie award winning), and more. Performance experience includes work on The Chocolate Factory Theater’s Resident Projects Selective Memory and HotBox with Brian Rogers; multiple projects with Lauren Petty/Shaun Irons and with Choreographer Juliana May/MayDance.

Katherine Cooper (production assistant) is a Brooklyn-based performer, writer, and director with an MA in Performance Studies from NYU. Recent directing work includes Healthcare (Farm Theater Company), and W.H. Salome (Dixon Place). She is a contributor to BOMBblog.

Farris Craddock (performer) has been in and seen more of Neal Medlyn’s performances than anyone else on Earth. He appeared in early works in Austin, TX; Medlyn’s Unpronounceable Symbol at PS122, …Her’s a Queen at DTW and in Portland, Oregon; Brave New Girl at the Chocolate Factory; Wicked Clown Love at The Kitchen; and in a special performance in Berlin where he set off fireworks inside an apartment. He, along with Medlyn and Michelle Dean, is a founding member of My Sisters’ Prom, a noise band popular in rural East Texas. In the summer of 2012, Craddock attended the 12th annual Gathering of the Juggalos with Medlyn in preparation for Wicked Clown Love–it changed his life. He spent a year abroad teaching English in Busan, South Korea. That was pretty cool too. He’s currently serving as the Hype Engineer and Sergeant at Arms for the world’s greatest rapper, Champagne Jerry.

Kelly Graffin, (choir) 13, New Freedom, PA Lives for the stage! She participates with the EMC Performing Arts Studio’s Black Box Theatre group and takes voice, piano and guitar lessons from the same studio.  She participates in plays and musicals at DreamWrights Theatre in York, PA.  She is active in her school’s choir and select choir groups.  Her passion and goal in life is to be on the big screen someday soon!

Tenzin Reed Gund-Morrow (choir) is 9 years old and in the fourth grade. He loves to sing and sew and cook. He has been a member of the Young People’s Chorus of NYC for two years and performed with them at Carnegie Hall last winter. His solo debut was singing Adele’s “Someone Like You” in Our Hit Parade at Joe’s Pub in 2011. Tenzin is excited to be working with Neal Medlyn and performing at the Kitchen. He thanks his family and friends for all their love and joy.

Fawn Krieger (sculptor) is a NY-based sculptress, whose multi-genre works are informed by and shaped from collaboration, movement practices, anti-materialism, primal memory, utopian excavations, and embodiment.  Her sets and sculptures have been supported by, among others, Art in General, The Portland Institute for Contemporary Art, Soloway Gallery, and The Kitchen.
www.fawnkrieger.com

Artist/Entertainer Larry Krone (costume designer) also designs costumes & sets!  In 2010, Larry started House of Larréon, creating custom gowns and stage costumes for performers including Bridget Everett, Neal Medlyn, Jenn Harris, and Adrienne Truscott among others. Recent credits include set and costumes for Adrienne Truscott’s …Too Freedom… (The Kitchen 2012, American Realness Festival 2014),  costumes for Neal Medlyn’s Wicked Clown Love (The Kitchen 2012, American Realness Festival 2013), a featured costume in Adrienne Truscott’s ha: a solo (Danspace Project 2011), and contributions to the looks of Our Hit Parade hosts and various performers (Joe’s Pub 2010-2012). Look Book, an artist’s book of Larry’s costume and fashion work is due out in early 2014. “Larry Krone: Together Again,” a solo exhibition of Larry’s visual artwork opens at Pierogi in Williamsburg on November 15, 2013.www.LARRYKRONE.com

Ginger McCoy (choir) is in the fourth grade. Recently, she appeared in the Films 4 Peace experimental short film, Pinata, by artist Anthony Goicolea. She also had screen roles in Annie Howell’s webisode “Sparks” and Jennifer and Kevin McCoy’s video “I’ll Replace You”. Ginger performs regularly as a member of the Grace Church choir and studies modern dance at Mark Morris.

Matt Ray (pianist/music director) can be seen in some of New York’s best venues where he performs nightly either fronting his own trio, or accompanying some of the city’s most dynamic performers.  Recent work includes performing at Carnegie Hall with Kat Edmonson, music directing The Billie Holiday Project at the Apollo Theater in Harlem, string and piano arrangements for the fifth season finale of Showtime’s Nurse Jackie, performances at Joe’s Pub with Joey Arias, and monthly gigs at Joe’s Pub with Bridget Everett and the Tender Moments.  Other recent work includes performing at the Edinburgh Fringe with Lady Rizo, and touring the world with Taylor Mac’s show A 20th Century History of Popular Music.  In addition, Matt music directed and played piano in Taylor Mac’s Obie award winning play The Lily’s Revenge at the HERE Arts Center in New York. Matt has released two jazz albums as a leader:  We Got It! (2001) and Lost In New York (2006); and one album of original pop/folk material called Songs For the Anonymous (2013).  www.mattraymusic.com

Hi I’m Nyah Rogers (choir) and I’m on my way to stardom!!!. I enjoy modeling, acting and theater.  I have recently starred in a Music Video called Manner Effect. You could check me out on Nickelodeon’s Blue’s Clues and an up and coming musical short, Mozart.
My favorite role was ‘Aruba’ in the off Broadway production of The Little Mermaid. Now I have to add KING to my favorites of course!!!

Matt Romein (video designer) is a video designer and interactivity programmer based in NYC since 2011. He has created programs for The A.O. Movement Collective and The Royal Osiris Karaoke Ensemble as well as for his own performance work. He also works frequently as a dance/theatre technician, most recently as the video coordinator for the inaugural Live Ideas Festival at New York Live Arts and as the technical director for the Prelude Festival and Catch.

Julianna Zannikos, (choir) age 10, is thrilled to make her NYC debut at The Kitchen in King.  She has a passion for singing and musical theater and has been seen on stage in the Bucks County, PA area, appearing in over 25 shows since the age of 7.  Her favorite previous roles are Baby June (Gypsy), Tessie (Annie), Gracie Shin (The Music Man), and Mouse (A Year With Frog and Toad), and she is looking forward to playing Marta in a local production of The Sound of Music in November. Julianna would like to thank Neal Medlyn for this wonderful opportunity; Louis Palena, Jordan Brennan, and Ginny Brennan for the excellent instruction and wonderful experiences; and her mom and dad for all they do to support her dream to be performer.

“Simultaneously catchy, affecting, creepy, endearing, funny, puzzling, and profoundly strange.”
By Benjamin Sutton, Blouin ARTINFO, Published October 25 2013

“At the Chelsea art space the Kitchen, a sculpture by Fawn Krieger depicts the performance artist Neal Medlyn as Michael Jackson.” 
By Dina Litovsky, The New York Times, Published October 22 2013

Eleanor Bauer: dansen in the big picture
Article (in Dutch) by Ive Stevenheydens
Published September 16, 2013

concept, performance by Adam Linder
stage design by Shahryar Nashat, Adam Linder
music by Brendan Dougherty
lighting design by Andreas Harder after Dennis Döscher
management by Andrea Niederbuchner
artistic advice by Isabel Lewis and Tom Engels

Adam Linder (performer) is engaged with choreography. His works have been presented at Hebbel am Ufer Berlin (Parade, 2013), Silberkuppe Berlin (Some Cleaning, 2013), Kampnagel Hamburg (Cult to the Built on What, 2013), Kunsthaus Dresden (Several Costume Changes, 2012), Silberkuppe Berlin (Ma Ma Ma Materials, 2012), Tanz im August Berlin (A Hip Reconnaissance, 2012) and The Watermill Centre NY (Dining at The Wilsons’ – with Shahryar Nashat , 2011). Further iterations of these works have been presented at KM – Künstlerhaus Graz (2013), Kunstverein Nürnberg (2013), Sophiensaele Berlin (2013), Liste Performance Projects – Basel (2013), Museum für Gegenwartskunst Basel (2013) and Halle für Kunst Lüneburg (2012). In the past Linder performed with Michael Clark, Meg Stuart/Damaged Goods and The Royal Ballet. And trained to be a dancer at The Royal Ballet School in London.

“A fertile source in the discourse between dance and music is pop culture: in his solo Cult to the built on what the choreographer Adam Linder is interested in the confrontation of different cultural codes and sign systems. He uses rap as a strategy, on the one hand, to transfer art discourses into Dadaist language games, which ascribe the syntax to the rhythm and thus remix the discourse. “
By Esther Boldt, Goethe Institut, Published August 2013

“Linder demonstrates that apart from aesthetic issues dance can be a platform for discussing the state of art and everyday life of today.”
By EK, Contemporary Cruising

Eleanor Bauer: dansen in the big picture
Article (in Dutch) by Ive Stevenheydens
Published September 16, 2013

Commentary=not thing Trailer Shot and edited by Peter Richards

choreographed and directed by Juliana F. May
performed by Benjamin Asriel, Talya Epstein and Kayvon Pourazar
text by Benjamin Asriel, Juliana F. May, Kayvon Pourazar and Maggie Thom
music by Chris Seeds, with thanks to Otto Hauser (drums)
set design  Brad Kisicki
lighting design by Chloe Z. Brown
costumes by  Reid Bartelme

Juliana F. May (choreographer/director) is a New York City native with a dual degree in Dance and Art History from Oberlin College. May has created nine works, including seven evening-length pieces with residencies and commissions from The Chocolate Factory Theater, Barnard College at Columbia University, The New School, Joyce SoHo, The International Contemporary Ensemble (I.C.E.) The Repertory Project, The University of Wisconsin-Milwaukee, Brooklyn Arts exchange, New York Live Arts and Dance Theater Workshop. May received The Manhattan Community Arts Fund Grant through LMCC for the premiere of Gutter Gate at dance Theater workshop and was a 2011-13 Movement Research Artist-in-Residence. In 2012 May served as Dramaturge for choreographer Miguel Gutierrez’s And lose the name of action which premiered at The Brooklyn Academy of Music. In June of 2012 the company was in residence at Governor’s Island as a part of the Lower Manhattan Cultural Council’s Open Process Residency program where they developed Commentary = not thing which premiered at New York Live Arts in February 2013. A work in progress version of Commentary = not thing was presented as a part of the American Realness festival in January 2013. In 2012 New York Live Arts awarded May the inaugural Jeff Duncan award for early career choreographers. May holds an MFA in Choreography from the University Wisconsin in Milwaukee where she was awarded the chancellors scholarship and the Thesis Award. May’s next evening length piece, The Installment, will begin development in 2014 and have its world premiere at The Chocolate Factory Theater in 2016. www.maydance.org

Kayvon Pourazar (performer) is of Persian origin, and was raised in Iran, Turkey and England. He graduated with a BFA in Dance from SUNY Purchase in May 2000. He has performed in the works of Beth Gill, Levi Gonzalez, K.J. Holmes, John Jasperse Company, Juliette Mapp, Juliana May/MAYDANCE, Jodi Melnick, Jennifer Monson, Donna Uchizono Company, Doug Varone and Dancers, Gwen Welliver, Yasuko Yokoshi, Wil Swanson, Gabriel Masson Dance and in The Metropolitan Opera productions of Les Troyens and Le Sacre du Printemps. Pourazar’s own work has been shown in New York City at The Kitchen (Dance & Process), P.S. 122 (Hothouse), The Cunningham Studios, Center for Performance Research, Catch, AUNTS and Dixon Place. In 2010, he received a New York Dance & Performance “Bessie” Award for Performance. He has been a guest artist teacher at Tsekh Russia in Moscow, Bennington College, University of Maryland, and, in conjuction with teaching, has created original works at Sacramento State University, University of Vermont and University of Nebraska. He also currently performs in the works of Beth Gill and Levi Gonzalez.

Brad Kisicki (set design) is a Designer, Technical Director and Production Manager who has been fortunate to work with many wonderful organizations, companies and individuals. Currently he works as an Architect specializing in performing arts facilities at Auerbach Pollock Friedlander. Brad was the Production Manager for the Aspen Music Festival for 10 seasons and the Technical Director at Dance Theater Workshop for 5 seasons among many other great jobs. He holds a BFA from the North Carolina School of the Arts, an M.Arch from the Rhode Island School of Design and a monthly Metro Card.

Reid Bartelme (costume design) began his professional life as a dancer.  He worked for Ballet companies throughout North America and Canada,  and later in his career worked for modern dance companies in New York including Shen Wei Dance Arts and the Lar Lubovitch Dance Company.  He has also performed in works by Jack Ferver, Liz Santoro, Burr Johnson, Douglas Dunn, Christopher Williams, Kyle Abraham and Ryan McNamara.  He went on to graduate from the fashion design program at the Fashion Institute of Technology and began working as a freelance costume designer.  Reid has designed costumes most notably for Christopher Wheeldon, Lar Lubovitch, Gwen Welliver,   Pontus Lidberg, Jack Ferver, Burr Johnson, Jillian Peña, Juliana May, Michelle Boulé  and Liz Santoro.  In collaboration with designer Harriet Jung, Reid has designed costumes for the New York City Ballet, American Ballet Theater, Justin Peck, Marcelo Gomes, Andrea Miller, Emery Lecrone and Mauro Bigonzetti.

Chris Seeds (composer) The score for “Commentary = Not Thing” is composer Chris Seeds’ second collaboration with Juliana F. May.  Previously, he composed and performed the score for Juliana F. May / MAYDANCE’s Gutter Gate at Dance Theater Workshop in NYC in February 2012.  Other recent collaborations with dance artists include performances with Lindsay Gilmour and OTUX (Santiago de Chile).  Chris played electronic pianos, organs, and synthesizers in experimental bands in NYC throughout the 1990s and 2000s, and strives to bring a sense of that style of improvisation and live performance to his compositional work.

Talya Epstein (performer) is originally from Sharon, Massachusetts and now resides in Brooklyn. She is currently engaged in creative processes with Anna Azrieli, Melinda Ring, and Larissa Velez-Jackson.  Her own work has been shown through Danspace Projectʼs Draftwork series, Movement Research at Judson Church, AUNTS, Dixon Placeʼs Body Blend series, The Tank, Galapagos Art Space, Bushwick Starr, The Flynn Center for the Performing Arts, among others. Talya holds a BFA from The Boston Conservatory and, currently, attends Janet Panetta’s ballet class whenever possible.

Ben Asriel (performer) grew up in Glasgow, Kentucky where he cultivated his love of art in his mother’s dance classes, on the soccer field, and playing trumpet in the GHS band. He studied music theory at Brown University (AB Music ’03) and dance at NYU Tisch (MFA ’06). In addition to MAYDANCE, Ben dances with Walter Dundervill, and Liz Gerring Dance Company. Ben has also performed with Gerald Casel, Daria Faïn, Jack Ferver, Gabriel Forestieri, John Jasperse, Antonio Ramos, Edisa Weeks, and Pavel Zustiak, among others. In 2010/2011 Ben was a Choreographic Fellow of NYCB’s New York Choreographic Institute, supported by Oregon Ballet Theater. His dances have been presented by CPR – Center for Performance Research, the Chocolate Factory Theater, Dance New Amsterdam, Movement Research at the Judson Church, The Tank, and Danspace Project. He is currently enrolled in Columbia University’s postbac premed program. Tell him what you think: basriel@gmail.com

Chloë Z Brown (lighting Design) is a Brooklyn based lighting designer and production manager. She was the Director of Production at New York Live Arts and Dance Theater Workshop from 2002 – 2013. In her work as a designer she collaborates with great artists such as Ivy Baldwin, Andrew Dinwiddie, Jeanine Durning, Juliana May, Sarah Maxfield, David Neumann, Heather Olson, Brian Rogers, Vicky Shick, Chris Yon and many more. In 2005, she was honored with a New York Dance and Performance “Bessie” Award for her lighting of Amanda Loulaki’s La la la la, Resistance (The Island of Breezes) at DTW.  She loves her work.

“May is suggesting that primal, pre-cognitive states stay buried in our guts; even as we’re growing up civilized, they’re howling and shitting at some level we fear to access.”
By Deborah Jowitt, Arts Journal, Published February 24, 2013

“These are bodies before “appropriate” social conditionings. Bodies before “right” or “wrong.” Bodies beyond reproach and repression. Beyond shame. Beyond guilt. These are bodies uncensored.”
By Cassie Peterson, The Brooklyn Rail, Published March 4, 2013

Dana Michel: Yellow Towel from Marin Media Lab on Vimeo.

Yellow Towel (trailer) from BAND OF BLESS on Vimeo.

choreography, performance, set and costume design by Dana Michel
lighting design by Karine Gauthier
artistic advisors Ivo Dimchev, Peter James, Mathieu Léger, Antonija Livingstone & Manolis Tsipos
sound consultant David Drury
executive producer Marie-Andreé Gougeon for Daniel Léveillé danse
production assistants Heidi Louis & Chad Dembski
coproduction Festival TansAmériques & Studio 303
creative residencies Compagnie Marie Chouinard + MAI + Le Chien Perdu (Brussels) + Usine C + Circuit-Est centre chorégraphique + Studio 303 + Agora de la Danse
with the support of OF Conseil des Arts et des Lettres de Quebec + Canada Council for the Arts + Cirque du Soleil Cultural Action program + MAI
administrative support Daniel Léveillé danse company (Montréal, QC) as part of its touring sponsorship project
Premiered at Festival TransAmériques, May 24, 2013

*merci to the fta and to studio 303 for the nice big push.  to my hand-holders/mind-spankers/idea-helper-to-makers: mathieu, peter, ivo, antonija, manolis, karine – yes. thank you darlings. a very special thank you to david drury, michael MAI toppings, silvy panet-raymond and yves sheriff for their additional advice, support and insight. a very very special thank you to my way more than just production assistants, heidi louis and chad dembski.  a ridiculously large thank you to the little person who somehow seems very at the origin and future of yellow towel, mr. roscoe michel.

Dana Michel (choreographer/performer) is a choreographer and performer based in Montreal, Canada. Before studying contemporary dance at Concordia University in her late twenties, she was a marketing executive, competitive runner and football player. In 2011, She had the honour of being a danceWEB scholarship recipient, allowing her to deepen her research process at ImPulsTanz in Vienna, Austria. Her work has toured through North America (Montreal, Quebec, Toronto, Ottawa, Boston, Salt Lake City and New York City) and Europe (Austria, Belgium, Serbia & Switzerland) over the past six years.  Dana’s work has garnered numerous awards including the Montreal Fringe Festival “Best Dance Production” in 2005, the Globe and Mail’s “Best Emerging Choreographer” in 2006, and a “Top Ten Choreographers” listing by the Montreal Mirror newspaper in 2007, 2008 and 2009. The film version of her solo the greater the weight won the jury prize for the best performance at the InShadow International Festival of Video, Performance and Technologies in Lisbon.   Michel’s newest solo, Yellow Towel, premiered at the Festival TransAmériques in Montreal to critical acclaim and featured on the “Top Five” and the “Top Ten” dance moments in the Voir newspaper (Montreal) and Dance Current Magazine (Canada) respectively.  “Michel… is a killer soloist who tackles the warped, frenetic and fierce rhythms of her piece with precision and fiery authority…” (Eva Yaa Asantewaa, InfiniteBody (NYC), 2007) http://danamichel.ca/

“Michel embarks on a performance that is richly textured, full of nuance and shift: this is a study of a human soul. When she does speak with words the sentences are dotted with random thoughts that seem like external manifestations of internal monologue and dialogue. She’s working on the detail of the sound, how to stress a word, the meaning of the rhythm of what’s said. It’s fascinating territory.”
By Philip Szporer, The Dance Current, Published May 31, 2013

“Unflinchingly, Dana Michel offers an abrasive, edgy performance in Yellow Towel. Using lifetimes of black social isolation, withdrawal and imagination, she lures you in. It’s a gut punch steeped in stereotypes of black culture, echoing imbalance and a lively contrariness, and infused with attitude. Michel is making work like nobody else.” 
By Philip Szporer, The Dance Current, Published December 16 2013

“Yellow Towel is weird, insightful and hilarious without resorting to predictable contrivances. It achieves a state of imbalance that is revelatory.”
By Alex Lazaridis, Real Time Arts, Published July 2013

“The performer is prodigious in this tragico-burlesque portrait in which her out-of-tune body is developed in a series of tableaux that let meaning emerges from slowness. This show is very personal and deliciously funny in an offbeat way. It confirms the talent of an artist who refuses to compromise and dares to invent her own language.” (translated)
By Philippe Couture and Elsa Pépin, Voir Montreal, Published May 31 2013

“At the premiere of this courageous performance, the public was very receptive, some spectators seeming however to be somewhat astounded by these uncharted grounds. But all can learn to interpret this abstract language. Dana Michel reaches for an essence that is inherently primal to human beings and that everyone can relate to. The first viewers of Jackson Pollock’s paintings must have had a similar feeling; the impression of being in front of the explosion of an incredible new movement.” (translated)
By Ariane Cloutier, Mon(theatre), Published May 26 2013

COMING SOON!

Mårten Spångberg is a choreography living and working in Stockholm. His interests concern choreography in an expanded field, something that he has approached through experimental practices and creative process in multiplicity of formats and expressions. He has been active on stage as performer and creator since ’94, and has since ’99 created his own choreographies, from solos to larger scale works, which has toured internationally. Under the label International Festival he collaborated with the architect Tor Lindstrand he engaged in social and expanded choreography. From 1996 – 2005 Spångberg organized and curated festivals in Sweden and internationally.
He initiated the network organization INPEX in 2006, has thorough experience in teaching both theory and practice and was director for the MA program in choreography at the Univ. of Dance in Stockholm 2008 – 2012. In 2011 his first book Spangbergianism was published. martenspangberg.org

Linda Blomqvist (born 1985 in Stockholm) is a dancer and choreographer currently living between Brussels and Stockholm. She studied dance at The Royal Swedish Ballet School (1995-2004) and at P.A.R.T.S in Brussels (2008-2010). Linda is a co-founder of the interdisciplinary artist collective Rhododdendron. Their video installation work has been exhibited in several venues in Europe. In may 2012 she premiered her latest piece “Lucha Libre” at MDT in Stockholm, which she created and performed together with Pär Andersson. Linda has been participating in creations with choreographers such as Uri Turkenich (IL) Pavle Heidler (HR) Björn Säfsten (SE) and Cristina Caprioli (SE).This summer she performed in two pieces by Mårten Spångberg: “The Nature” at MDT, Stockholm and “Epic” at Manchester International Festival. She is currently working with Rosas, touring “Drumming” and will participate in the new creation in 2014.

Ludvig Daae is a Norwegian dancer and choreographer working mostly in Stockholm and Brussels. Since he graduated from P.A.R.T.S. in 2008, he has worked with Deborah Hay (USA), Company Thor (BE), Mårten Spångberg (SE), Gunilla Heilborn (SE), Xavier Le Roy (FR) among others, and his collaborative stage art group, ches:co. He is currently touring with his own solo MM, which in 2012 was chosen as the only Nordic act for the European dance network Aerowaves. He collaborates as performer with Sebastian Schulz, Verena Billinger, Robin Jonsson. In 2013 he premieres two new productions of his own. 

Emma Kim Hagdahl (born 1985) is a Swedish artist, choreographer and dancer working internationally. Her recent work is together with the Australian choreographer Atlanta Eke concerned with imaginative forces of production.
In recent years she has been interested in collective processes and has been part of INPEX, Mychoreography and Agora Project. She is one of the initiators and producers of The Swedish Dance History and The Inpex. Emma was the artistic director Reykjavík Dance Festival entitled A Series of Event together with Halla Ólafsdóttir. Furthermore she choreographed the solo triptych As Found and has been granted several scholarships and residencies e.g. DanceWEB Europe in Vienna, Movement Research in New York and Housemate in Melbourne. She studied at Laban in London, ex.e.r.ce in Montpellier and has a degree from DOCH in Stockholm.

Sandra Lolax has worked with dance and choreography since 2007. Based in Berlin and Stockholm, she has during the last years collaborated continuously with choreographers Rosalind Goldberg and Stina Nyberg. In their work they have taken interest in methods and procedures how to produce choreography, and in inventing somatic practices that could produce bodies that function according to different logical rules. Sandra has performed in works by choreographers such as Rebecka Stillman, Maya M. Carrolll (née Lipsker), Anne-Mareike Hess  Litó Walkey, Deborah Hay and Miriam Horwitz.

Linnea Martinsson (1988) is a dancer and choreographer educated at the Swedish Ballet School. She initiated the collective Digga Pony and has been active as a performer with Julie Reinartz, Robin Jonsson and Mårten Spångberg. In 2013 Linnea released her first album “Music and Sports” and is since then touring as a music act. As a singer she has collaborated with among others The Swedish House Mafia and Adrian Lux.

Pontus Pettersson is a Swedish choreographer and dancer, based in Stockholm. Educated at the Danish national school of contemporary dance from 2003-2007. Pontus has worked as a dancer around in Scandinavia as well as in Israel, most well known choreographers are Ohad Naharin and Deborah Hay. As a choreographer Pontus has shown his pieces around in Europe and Israel as well as taken part of international programmes for young makers like, Choreoram, ENPARTS and the latest DanceWEB. The latest works include The Black Box Theatre, a one to one meeting in the theatre space where fortune telling created the parameters of the dance one would see in the space as well as MOPA – Preparing for battle, a six solos series for six different individuals. Currently working on the new solo MOPA – I disappear in darkness, touring with Debut, a collaboration with Adriano Wilfred Jensen and Sandra Lolax and dancing in Mårten SpångbergsEpic, Pontus creates work for stage and off stage blurring the borders between dance, performance and visual art.

Rebecka Stillman usually has different functions in various choreographic projects. She is currently interested in thinking about how and if one can find new things in-between what we know already and what impact that can have on what we know. Rebecka has an MA in choreography (DOCH, Stockholm) and has previously attended The Royal Swedish Ballet School, SEAD and Stockholm University. She was part of initiating the stage art group ches:co (active 2006-2010) and has since then worked in various group constellations in Sweden and abroad. Rebecka has also been engaging in projects initiated by others such as Eleanor Bauer, Ludvig Daae, Anna Koch, Mårten Spångberg, Yukiko Shinozaki and Heine Avdal. She also works in the new project Maximum Spaces which deals with the redistribution of studio space in Stockholm.

Hanna Strandberg is a dancer living and working in Stockholm. She studied at GDU Gotland and DOCH in Stockholm, where she graduated from in 2009. As a dancer she has worked with the choreographers Helena Högberg, Eliisa Erävalo and most recent with Mårten Spångberg in Epic. 2009 she started and built the restaurant Gåsens Lada, which she was managing until 2012. She is now studying economic history at Stockholm University.

Yoann Durant (born 1983) is a French artist, composer, improviser, musician/saxophonist and performer. He is based in Paris and Stockholm and works internationally. Concerned with sound and music in an expanded field through experimental practices in a multiplicity of formats and expressions he creates his own projects, mostly in collective processes, from solo to orchestral works. He regularly collaborates with artists related to choreography, theater, radio and video. In 2011-2012 he made 2 pieces : a solo work seul and a 7 performers group piece sous-entendu. He is active on the Parisian scene since 2008 with contemporary jazz band Irène and Rétroviseur, since 2012 with O     O (electro/acoustic music headphone performance) and ONCEIM (orchestre national de création, expérimentation et improvisation). Since 2013 he is active on the Swedish scene both music and performance, singing along pop songs for 4 hours during Mårten Spångberg’sThe Nature and Epic. He taught at the University of Gothenburg, Panama Jazz Festival, Conservatoire de Perpignan and Mâcon. He has a MA from Conservatoire de Paris, has been granted several scholarships and residencies. He has been part of the 1st edition Feldsträke program (104 Paris, Calarts Los Angeles and Pact Zollverein Essen).

“Spångberg wants us to question what choreography can be, not give us what we already know. “The dance to come is an altogether different one, not even I can predict,” he says. Beyoncé, can you handle this?”
By Lindsey Winship, The Guardian, Published July 5 2013

“The Swedish performance-related artist-dancer-choreographer-producer-writer MÅRTEN SPÅNGBERG [gave] his thoughts on four concepts: Space, Rhythm, Expectation and Embodiment. The result of this encounter can hardly be described, as ideas, concepts and words sprang out all over the place without restraint and with such overwhelming speed that capturing it in writing was a performative feat in itself.”
SPIKE, Published Spring 2013

“Michel embarks on a performance that is richly textured, full of nuance and shift: this is a study of a human soul. When she does speak with words the sentences are dotted with random thoughts that seem like external manifestations of internal monologue and dialogue. She’s working on the detail of the sound, how to stress a word, the meaning of the rhythm of what’s said. It’s fascinating territory.”
By Philip Szporer, The Dance Current, Published May 31, 2013

“Unflinchingly, Dana Michel offers an abrasive, edgy performance in Yellow Towel. Using lifetimes of black social isolation, withdrawal and imagination, she lures you in. It’s a gut punch steeped in stereotypes of black culture, echoing imbalance and a lively contrariness, and infused with attitude. Michel is making work like nobody else.” 
By Philip Szporer, The Dance Current, Published December 16 2013

“Yellow Towel is weird, insightful and hilarious without resorting to predictable contrivances. It achieves a state of imbalance that is revelatory.”
By Alex Lazaridis, Real Time Arts, Published July 2013

“The performer is prodigious in this tragico-burlesque portrait in which her out-of-tune body is developed in a series of tableaux that let meaning emerges from slowness. This show is very personal and deliciously funny in an offbeat way. It confirms the talent of an artist who refuses to compromise and dares to invent her own language.” (translated)
By Philippe Couture and Elsa Pépin, Voir Montreal, Published May 31 2013

“At the premiere of this courageous performance, the public was very receptive, some spectators seeming however to be somewhat astounded by these uncharted grounds. But all can learn to interpret this abstract language. Dana Michel reaches for an essence that is inherently primal to human beings and that everyone can relate to. The first viewers of Jackson Pollock’s paintings must have had a similar feeling; the impression of being in front of the explosion of an incredible new movement.” (translated)
By Ariane Cloutier, Mon(theatre), Published May 26 2013