Press

In “Nothing: more,” Autumn Knight and her collaborators and co-choreographers Kayla Farrish, Dominica Greene, and Jasmine Hearn let their imaginations roam in an interactive set that evokes an empty, after-hours gallery.

Imagine for a moment how you might inhabit the world of Britney Spears. Phil Collins? Beyoncé? Insane Clown Posse? The performance artist Neal Medlyn has done it all (and then some). Medlyn’s performances are singular events that traverse popular sensibilities and creative disciplines with undercurrents of philosophical curiosity and devotional irreverence.

A thrilling, playful exploration of the process of becoming. Nicole Serratore reviews.

Ruth Childs, the niece of the renowned choreographer Lucinda Childs, got over being intimidated by her aunt’s achievements. Now, she debuts her own work in New York.

At the Chocolate Factory Theater in Queens on Friday, Martita Abril’s performance expressed life on the border from multiple angles.

Choreographer Anna Sperber also concerns herself with rhythms in the body and the world in “Beacons,” a new work for the sensitive trio of Tim Bendernagel, Owen Prum, and Zo Williams, along with a solo epilogue for Sperber herself.

Having “staticky energy” with someone is one of my favorite sayings: the colloquialism describes the unspoken friction that binds two people. It’s this uncomfortable kinetic charge that might resemble the residue of tension between oneself and a past love interest or the tacit, pent-up distrust between overachieving colleagues-turned-competitors.

The choreographer Tess Dworman inhabits an assortment of people (and an ottoman) in her dance-theater work “Everything Must Go.”

DD Dorvillier’s solo at the Chocolate Factory evokes a dream state as it digs into the same river of dance twice.

FACE EATERS is as aesthetically ambitious and specific as a Broadway show, but with the sensibilities leaning away from the clean and polished and towards 1970s B-Horror movie chaos and viscerality. Between Romania, Smith, and the band of collaborators, the ensemble rocks at least a couple dozen elaborate costumes. Romania’s include a mattress exoskeleton which he both wears and is inside of like a soft, unwieldy turtle shell and a budget Michelin Man look made of foam and duct tape. Smith’s include a head-to-toe rope ensemble which gives her the appearance of a human wet mop and a truly beautiful jacket with dense, colorful yarn draping from the shoulder blades like wings.