A novelist of dance, Blythe Barton, in her longer work, creates vivid societies onstage. In “The only real world I know is mine,” her premiere at the San Diego Fringe Fest, Barton’s world was a generous place that I wanted to live in.
In spite of strong choreography and superb dancing, watching Zaquia Mahler Salinas’s “Hirudinea and Her Host” made me feel like I was in an artsy gentleman’s club. Find out why I think Salinas made problematic artistic choices … and join the conversation.
“On the Corner of Rhythm & Rhyme” at the San Diego Fringe Fest isn’t just a display of virtuoso tapping. California Rhythm Company director Nancy Boskin-Mullen and artistic director Pam Thompson-Spinner have put together San Diego’s answer to “Stomp.”
I’m betting that when “Victor Charlie” is a hit in a major theater, anyone who caught it at the Fringe is going to brag about seeing the world premiere in the Spreckels Theatre Raw space. By the way, the space is indeed raw, with paint peeling from the walls … and there may never be a more perfect venue for this show about a 1960s-era soldier than this former USO center.
Dance reviews from the opening of the San Diego Fringe Festival. “The Red Shoes Revamped” is a must-see, and not just to catch David Wornovitzky in a blond wig and red frock.
One of the pleasures of IMAGOmoves’ performance was the venue, the Encinitas Community Library. Another was Yolande Snaith’s solo, in which she conjured sculpture and music with gorgeous hand gestures. The rest of this dance, however, could have used a stronger authorial hand …