Kohji Setoh
Piece with gaps for each other
Limited Edition Vinyl LP

Available for purchase now! A transparent blue LP featuring Kohji Setoh's sound composition for Piece with gaps for each other, commissioned from Ursula Eagly as a part of The Chocolate Factory's 2016-2017 season. The record is released by the Japanese label ROOT CULTURE in an individually numbered, limited edition of 250, gorgeously packaged with a graphic performance score on the inner sleeve and an insert with texts by artists Ursula Eagly, Martin Lanz Landazuri, and Kohji Setoh.

Giving Thanks For Dance
Martha Sherman, dancelog.nyc

Let’s give thanks for the good things in dance this year. More than anything, I’m grateful that, despite a tough funding environment, there are more than ever artists making work and much of it has been extraordinary. It’s hard to choose only a few to highlight.

Moving to a Disco Beat, or the Clatter of Household Objects
Gia Kourlas, New York Times

Follow your bliss. Depending on your mood, that phrase is either enlightening or exasperating. Both could be used to describe Michelle Boulé’s latest work, “The Monomyth,” which takes partial inspiration from the writer and mythologist Joseph Campbell, who coined the saying. It also refers to his vision of a hero’s journey: Embark on an adventure, face a crisis, and, in the end, emerge transformed.

Brian Rogers
on Rebecca Davisthe final hands count beginning sounds

Rebecca Davis’s the final hands count beginning sounds carves out space and time and temperature for itself, and for us, in ways that feel radically generous.

Milka Djordjevich

Questioning contemporary dance’s predisposition towards neutrality, authenticity and the de-sexualization of the female body, ANTHEM embraces theatricality, virtuosity and sass. The work weaves together existing and imagined vernacular dance styles to explore labor, play, and feminine-posturing. Four women execute a repetitive yet complex movement vocabulary that evolves as they rotate hypnotically within the confines of a square. Over time, the meditative rigor of their steps dissolves into a tangle of commotion, blurring the distinction between the mundane and the glamorous.

Melinda Ring / Special Projects and Renée Archibald
Shiny Angles in Angular Time

In Shiny Angles In Angular Time, Archibald and Ring redefine the black box theater as a kind of magic box - a site containing properties both real and imagined. In this collaborative work, Archibald’s performance points to the space itself — its presence and identity — rather than the other way around, amplifying its power and making visible the force of its emptiness.

Melinda Ring / Special Projects
c lo    u       d

Meant for an intimate audience, this evening-length dance takes place in an imagined room — which is continually expanding, contracting, shifting directions, refracted within the actual room. Morphing like clouds, performers and space share a swirling energy. Sometimes the dancers mirror each other; sometimes they are “ordinary people” (under a dark cloud) whose frustration, anger, and sadness propel them toward destructive behavior. Delicate structures often slip out of sync into unruliness, reconfigured through the nudge of a current. These unseen forces extend to the viewers, guiding their physical proximity in relationship to this de-centered work as it progresses…with a heightened sense of sharing the experience.

Anna Sperber
Wealth From The Salt Seas

Wealth from the Salt Seas explores the embodiment of assertion and agency through visceral somatic experience. Vocalist and composer Gelsey Bell joins Anna Sperber in performance to collaboratively mine the physical space of the theater for its poetic and emotional vibrations. The female body emerges as a resonant, echoing force within a visual landscape conceived in collaboration with scenographer Sara C. Walsh and lighting designer Elliott Cennetoglu.

Jennifer Monson
bend the even

Advance ticket sales for bend the even are closed. We will sell a limited number of floor cushion seats to walkup patrons, first come first served.

bend the even revisits Jennifer Monson’s research into the indeterminate phenomena that exist at the edges of human perception. The project focuses on the relationship between optics, reception and the shifting continuity between sound, light, and movement. The piece creates a system of relationships that weave the mediums of movement, sound, light and structure (both architectural and costume) together into a field of perceptual phenomena that leave the audience at the edge of comprehension. bend the even explores containment and relinquishing through ever-narrowing parameters.

An Afternoon With
Björn Säfsten and Stina Nyberg

Join us for an afternoon of work in progress showings by Stockholm, Sweden based artists Björn Säfsten and Stina Nyberg. Refreshments will be served.
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