But she also had another, more private dream. It’s become a poignant end-of-summer tradition in which the wild, enigmatic nature of experimental dance finds, at the beach, its missing twin.īeach Sessions was created in 2015 by the producer and Rockaway resident Sasha Okshteyn, who had a dream: to bring quality dance and performance to Rockaway Beach. But it’s more than an excuse to sit in the sun. Because of its setting, Beach Sessions is casual by nature. But for the first half, audience members will move with the dancers as they progress along the shore. The program will conclude with a performance on a stage - erected on the sand - of three more dances: “Solo Olos” (1976), “Accumulation” (1971) and “Opal Loop” (1980). It was like a conversation you might have in a fever dream: The sea gulls twirled around the dancers, and the dancers, perched majestically on a jetty for “Figure 8” (1974), made arcing patterns with their arms as though they were airing out their wings. The instant the dancers, clad in cyan blue surf tops and shorts, began performing Brown’s choreography, the natural world popped, coming into sharper, more colorful focus. Moving Uptown: After starring in a production of “The Sign in Sidney Brustein’s Window,” a long-overlooked Lorraine Hansberry play at the Brooklyn Academy of Music, Oscar Isaac and Rachel Brosnahan are bringing the show to Broadway for a surprise run.Taking on Performative Progressivism: The Native American playwright Larissa FastHorse is making her Broadway debut with “Thanksgiving Play,” a satire about a “culturally sensitive” show.Jodie Comer Finds Her Light: The one-woman show “Prima Facie” is the “Killing Eve” star’s first stage role.A Spiritual Performance: “Tu nombre verdadero,” a multimedia performance from the novelist and musician Rita Indiana, immerses the audience in experiences of death and illness, particularly as they relate to artists.Their diagonals curved forward like commas. And that sand! Before the dancers could even start to drift and swirl - the sort of delicate micro movements that help make this seemingly simple dance mesmerizing - their torsos began to buckle. And then to keep moving.Ī beach, it turns out, poses certain challenges for such a task.
The aim? To create opposing diagonal lines, sort of in the shape of a V. In pairs, the dancers faced each other bound by a paddle contraption - a piece of wood on each of their lower backs, looped together with a rope - as they planted their feet and leaned backward. “Leaning Duets II,” a work by the choreographer Trisha Brown from 1971, is a classic partnering experiment in balancing while being counterbalanced. Even the softest of waves were too much for their feet - strong as they were - to hold their own in the soggy late afternoon sand at Rockaway Beach.
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