After some treats for the eyes with R2R performances, immerse your intellectual self in these beautifully composed reviews from The New York Times and Financial Times. There are 7 in total so it might take some time to digest them all, but once you do, don’t rest just yet! There will definitely be more coming your way! See below for excerpts and links to full reviews.

On Eiko’s A Body in a Station:

A pool of red fabric and a thin futon, covered in a white silken sheet, awaited Ms. Otake on the station’s upper level, at the end of her long entrance. Sinking to her knees, she pulled back the sheet with brittle fingers, slid under it and back out — all at her arrestingly glacial pace, a quality refined over decades of moving slowly. A swatch of red appeared in her palm, the beginning of something less cool and more carnal, of red engulfing white, as she upended her place of rest.

–  Siobhan Burke, The New York Times

Read full review here.

On Bang On A Can Marathon: 

Nothing better captured the playfulness of the annual Bang on a Can Marathon, a quality that came through even more strongly this year as a contrast with the event’s ever sleeker, ritzier surroundings. The Winter Garden used to be, if not exactly a dump, hardly glamorous. Now, with shiny Ferragamo and Burberry boutiques and an upscale food court, it has the chilly cookie-cutter fanciness of an airport in Dubai or Shanghai.

– Zachary Woolfe, The New York Times

Read full review here.

On Twyla Tharp’s The One Hundreds:

It was misty early in the evening on Saturday, and the lawn of Nelson A. Rockefeller Park in Battery Park City was damp as 100 volunteers danced en masse for 11 seconds. This extremely brief burst of activity was the finale of Twyla Tharp’s 1970 work “The One Hundreds.” The duration of the preceding part of the piece could be measured in minutes: about 20. That was less time than I spent waiting for a subway train on my way home afterward. But “The One Hundreds” was well worth the trip.

– Brian Seibert, The New York Times

Read full review here.

On Rachel Tess’ Souvenir Undone:

Rachel Tess, a Portland, Ore., choreographer now based in Sweden, is obsessed with relationships between forms: architecture and choreography, silence and sound, light and dark. Ms. Tess, a Juilliard graduate whose scenes resemble dioramas, may have discovered the performance site of her dreams at Governors Island, where, as part of the River to River festival, she presented “Souvenir Undone” on Friday at the Fort Jay magazine, a medley of arched brick rooms once used to store gunpowder.

– Gia Kourlas, The New York Times

Read full review here.

On Souleymane Badolo’s Dance My Life: 

In “Dance My Life” he is joined by the dancer Sylvestre Akakpo and the percussionist Mamoudou Konate, who sits in the center of the stage — a rectangular patch of pier — with a hand-held drum, curved mallet and microphone. Mr. Badolo began with his own subtle, small, twitching and flicking dance, as a harsh crackling sound blared from two speakers. That noise and the hot midday sun, along with the seating arrangement — an awkward smattering of reclining wooden chairs — made for a disorienting start.

– Siobhan Burke, The New York Times

Read full review here.

On Trisha Brown: In Plain Site:

If you were taking a waterfront stroll along the bottom tip of Manhattan late Sunday afternoon, you may have happened upon seven people dressed in white, their limbs twisting gently in the breeze like the branches of the surrounding trees. This was not a color-coordinated group of tai chi practitioners. This was the Trisha Brown Dance Company, performing an excerpt from Ms. Brown’s final work, “I’m Going to Toss My Arms — if You Catch Them, They’re Yours” (2011).

– Brian Seibert, The New York Times

Read full review here.

On River To River:

Microsoft Word - R2R_FinancialTimes_062415.doc


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