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Alicia Amatriain & Jason Reilly in Itzik Galili’s “Mona Lisa”….

MONA LISA

Choreography: Itzik Galili

Musical concept & composition: Thomas Höfs with Itzik Galili

Costumes: Natasja Lansen

World premiere: February 22, 2003, Stuttgart Ballet

Dancers: Alicia Amatriain & Jason Reilly

Celebrate Summer with Martha Graham!

Xiaochuan Xie in Martha Graham's Diversion of Angels.  Photo by Hibbard Nash Photography.

Xiaochuan Xie in Martha Graham’s Diversion of Angels.
Photo by Hibbard Nash Photography.

CLICK HERE FOR MORE INFO…

Lower Manhattan Cultural Council Presents the 13th Annual River To River Festival, June 19–29…

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RIVER TO RIVER 2014 FULL SCHEDULE:

Dates, times and locations subject to change—be sure to check www.RiverToRiverNYC.com for up-to-date information. Please note that all events are free, but due to limited capacity some require advance RSVPs.

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R2R BASH

June 19, 5–8pm

North End Way

Co-sponsored with Conrad New York, Goldman Sachs, and area restaurants & retailers

Food, Music, Social

TRISHA BROWN DANCE COMPANY

Exhibition: Embodied Practice & Site Specificity

June 20–29: Mon–Fri 12–5pm, Sat 10am–5pm, Sun 12–5pm

LMCC’s Arts Center at Governors Island

Visual Arts, Dance, Theatre, Music, New Media

CARABALLO-FARMAN

The Signs of Paradise

June 20–29, 8am–8pm

Battery Park

Visual Arts

Two Women is an experimental performance which focuses on two women's age difference and multi-layered relationship. The collaborators explore how two bodies sometimes mirror each other in part or collide into one. Tomoe Aihara, a dancer and scholar from Tokyo, where she lives, joins Eiko. Photo: William Johnston

Two Women is an experimental performance which focuses on two women’s age difference and multi-layered relationship with Tomoe Aihara, a dancer and scholar from Tokyo, where she lives, joins Eiko. Photo: William Johnston

EIKO

Two Women

June 20 & 22, 2pm

LMCC’s Arts Center at Governors Island

Dance

ORIGINAL MUSIC WORKSHOP’S EX-SITU SERIES

Terry Riley & Friends

June 20 at 7:30pm

Federal Hall

Music

VANESSA ANSPAUGH

What Was Wasn’t Here.

June 20 at 3pm

June 21 at 1pm & 3pm

Location TBA

Governors Island, Nolan Park

Dance

PETE M. WYER

And Death Shall Have No Dominion

June 21 at 11am

Various starting locations see website for details

Co-presented by Make Music New York and Poets House

Music, New Media

SUSIE IBARRA & ROBERTO RODRIGUEZ

Digital Sanctuaries, NYC

June 21 at 1pm, 3pm, 5pm

Starting Locations: India House (1pm); Peter Minuet Plaza (3pm); Tear Drop Park (5pm)

Commissioned by New Music USA’s Commissioning Music/USA program and presented as part of Make Music New York

RSVP required

Music, New Media

STRIJBOS & VAN RIJSWIJK

New York Walkscape

June 21 at 12pm, 2pm & 4pm

Various locations, see website for details

Co-presented by Make Music New York

Music, New Media

Photo; Marc Perlish

Photo; Marc Perlish

ORIGINAL MUSIC WORKSHOP’S EX-SITU SERIES

Claire Chase & Svet Stoyanov

June 21 at 7:30pm

Federal Hall

Music, Visual Arts

R2R LIVING ROOM

Ephrat Asherie & Hector Arce-Espasas: Everyday I’m Hustlin’

June 21, 9–11pm

Nelson Blue, 233 Front Street

Music, Dance

TRISHA BROWN DANCE COMPANY

In Conversation: Embodied Practice & Site-Specificity

June 22 at 4:30pm

LMCC’s Arts Center at Governors Island

Talks, Visual Arts, Dance, Theatre, Music, New Media

ENRICO D WEY

Where We Are Right Now

June 22 at 7pm & 8pm

June 24 at 7:30pm

Pier 15

Dance

TERE O’CONNOR

Untitled

June 23–25 at 1pm

Elevated Acre

Commissioned by LMCC

Dance

COLLABORATIONTOWN IN DEVELOPMENT:

Staged Reading of New Work

June 23 & 26 at 2pm

June 24 at 5pm

LMCC’s studios at One Liberty Plaza, 12th Floor

RSVP required

Theatre, Open Studios

AYA OGAWA

Ludic Proxy

June 23 at 5pm, June 25 at 2pm, June 27 at 4pm

LMCC’s studios at One Liberty Plaza, 12th floor

RSVP required

Theatre, Open Studios

ORIGINAL MUSIC WORKSHOP’S EX-SITU SERIES

Kimmo Pohjonen & Jeffrey Zeigler

June 23 at 7pm

Pier 15

Music

SOULEYMANE BADOLO  , Of History (Virgule De L’histoire)

SOULEYMANE BADOLO , Of History (Virgule De L’histoire)

SOULEYMANE BADOLO

, Of History (Virgule De L’histoire)

June 24 at 3pm

June 25 at 1pm & 5pm

John Street Church Courtyard

Commissioned by LMCC

 Dance

NIGHT AT THE MUSEUMS

June 24, 4–8pm

Various Locations, see website for details

Visual Arts

ETHEL WITH SPECIAL GUEST KAKI KING

…And Other Stories

June 24 at 7:30pm

Brookfield Place, Winter Garden

Co-presented by Arts Brookfield

Music

TRISHA BROWN DANCE COMPANY

I’m Going to Toss My Arms—If You Catch Them They’re Yours

Open Rehearsal: June 25 at 7pm

Performance: June 26 at 7pm

Pier 15

Dance

REGGIE WILSON…

Moses(Es)

June 25 at 2:45pm

June 26 at 1:45pm & 3:45pm

St. Cornelius Chapel, Governors Island

Co-commissioned by New England Foundations for the Arts’ National Dance Project, Doris Duke Charitable Foundation & LMCC

Dance

R2R LIVING ROOM

Mike Iveson/Dj Hotel Scampi

June 25, 9–11pm

Barbalu, 227 Front Street

Music, Dance

THE 22ND ANNUAL POETS HOUSE SHOWCASE OPENING

June 26, 5:30–8:30pm

Poets House

Co-presented by Poets House

Writing/Literature

Photo credit: courtesy of the artist

Photo credit: courtesy of the artist

WALLY CARDONA & JENNIFER LACEY

The Set Up: I Nyoman Catra

June 26 at 5pm

June 27 & 28 at 1pm

120 Wall Street

Commissioned by LMCC

Dance

PIÑATA PROTEST, KUENTA I TAMBU (KIT), HELADO NEGRO & SLV FRONTERAS:

New & Old Sounds from Latin America & the Caribbean

June 27, 4–9:30pm

The Uplands, South Street Seaport

Co-presented by Isabel Soffer / Live Sounds

Music

MariaHassabi_Premiere_2013-11-06

MARIA HASSABI Premiere

MARIA HASSABI

Premiere

June 27 at 3pm

June 28 at 3pm & 5pm

Bowling Green

Commissioned by LMCC

Dance

MARIA HASSABI, PAOLO JAVIER & KANEZA SCHAAL

In Conversation

June 27, 7–9:00pm

Poets House

Co-presented by Baryshnikov Arts Center & Poets House

Talks, Dance, Poetry, Theatre

Photo: Darial Sneed

Photo: Darial Sneed

OPEN STUDIOS WITH LMCC’S ARTISTS IN RESIDENCE

June 28–29, 12–5pm

LMCC’s Arts Center at Governors Island

Visual Arts, Dance, Theatre, Music, New Media

ROBERT KOCIK & DARIA FAIN:

Ubiquitous Dividend: A Day-Long Celebration Of Robert Kocik’s Supple Science

June 28, 2–5pm (workshop), 6–8pm (performance)

Poets House

Co-presented by Poets House

Performing Arts, Social Practice

OKWUI OKPOKWASILI

Bronx Gothic: The Oval

June 28 & 29 at 3pm

LMCC’s Arts Center at Governors Island

Co-commissioned by Danspace Project, LMCC, & Performance Space

Performance Art, Dance, Theatre

Photo: Courtesy of the Artist

Photo: Courtesy of the Artist

BÉLO & CURUPIRA FRONTERAS:

New & Old Sounds from Latin America & the Caribbean

June 28, 5:30–9pm

The Uplands, South Street Seaport

Co-presented by Isabel Soffer / Live Sounds

Music

SERGIO MENDOZA Y LA ORKESTA & REY VALLENATO BETO JAMAICAFRONTERAS:

New & Old Sounds from Latin America & the Caribbean

June 29, 1:30–5pm

The Uplands, South Street Seaport

Co-presented by Isabel Soffer / Live Sounds

Music

ON VIDEO:

New York Close-Up

June 29 at 4:30pm

LMCC’s Arts Center at Governors Island

Visual Arts, Dance, Theatre, Music, New Media

Photo credit: courtesy of the artist

Photo credit: courtesy of the artist

DJ NICKODEMUS

SEAPORT BLOCK PARTY

June 29, 6–8pm

Front Street, South Street Seaport

Music, Dance

R2R LIVING ROOM

Closing Party

June 29, 8:30–11pm

Nelson Blue, 233 Front Street

Music, Dance

ABOUT LOWER MANHATTAN CULTURAL COUNCIL (LMCC)

Lower Manhattan Cultural Council (LMCC) empowers artists by providing them with networks, resources, and support, to create vibrant, sustainable communities in Lower Manhattan and beyond. In 2014, LMCC will award over $500,000 in grants, provide 500 individuals with professional development skills and access to business leaders and arts professionals, place 100 individuals and arts groups in our studio residency programs, as well as present over 60 days of free cultural experiences for the public to enjoy. The combination of LMCC’s investment in individual artists and small arts groups, our robust network of partners in the public and private sectors, and our integrated approach to fostering local neighborhood efforts, aims to spark public imagination as well as inspire personal attachment and investment in NYC’s communities.

 

24 Horas Y Un Perro (24 Hours and a Dog | MalPaso Dance Company’s United States Premiere at the Joyce….

Isvel Bello Rodriguez, Randy Civico Rivas, Joan Rodriguez Hernandez & Manuel Ernesto Duran Calzado in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

Isvel Bello Rodriguez, Randy Civico Rivas, Joan Rodriguez Hernandez & Manuel Ernesto Duran Calzado in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

The United States premiere for MalPaso Dance Company, as well as their first appearance outside of Cuba, was at the Joyce Theater. The MalPaso Dance Company was founded two years ago by Osnel Delgado and Daile Carrazana Gonzalez, both former members of Danza Contemporánea de Cuba.

The evening opened with 24 Horas Y Un Perro (24 Hours and a Dog), a 44 minute piece choreographed by  the artistic director Osnel Delgado. An added benefit, so sadly missing in so many NYC dance performances was that the score by Grammy Award-winning pianist and composer Arturo O’Farrill , was performed live.

Osnel Delgado & Dunia Acosta Arias in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

Osnel Delgado & Dunia Acosta Arias in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

The movement for 24 Horas Y Un Perro (24 Hours and a Dog) is so relaxed, so intrinsic to the body that it appears improvisational. Something the dancers just whipped out of their body without forethought, allowing themselves to become conduits of expression that listens to the body’s natural rhythms, breath, pulse, heartbeat.

You immediately get the urban feel both from Mr. O’Farrill’s score, a fusion of the Latin culture with jazz, plus with the backdrop of city a skyline, on black but outlined with yellow. The work begins with Mr. Delgado moving slowly, almost contemplative in salience. When music is heard he begins to move fully, from standing he goes to the knees then back to standing then rolling, tumbling.

Four others join him on stage, a couple takes center stage and begins a duet that has an anger, not outright hostility but as if something needs resolving, an energy, strained, seems to run under their skin.

Dancers walk on and off the stage consistently during the piece. Groups work together in chorus, then it becomes a canon of movement that breaks into solos and duets. The work is abstract in form and the movement is original to its core.

It’s as if Mr. Delgado went into the studio and just started dancing. Technique is there, in fact all the dancers are impeccable trained, but the dancing does not rely on technique, the proper placement of an arm or leg in accordance with classical vocabulary. It is something much more free, technique is not so much thrown away nor is it deconstructed, but rather its rules and regulations have been discarded, stripped away, leaving pure movement that is pure expression.

Manuel Ernesto Duran Calzado, Joan Rodriguez Hernandez, Osnel Delgado, Maria Karla Araujo Martinez &  Dunia Acosta Arias in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

Manuel Ernesto Duran Calzado, Joan Rodriguez Hernandez, Osnel Delgado, Maria Karla Araujo Martinez & Dunia Acosta Arias in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

Men and women are equal in partnering; an established camaraderie exists that shows the women are as strong as the men, physical and emotional equals, neither is reliant on the other but accepts and appreciates the others presence.

Small movements escalate into larger movements rapidly. Using both hands the dancers turn the head to their right as they release the head it turns back to front, shoulders scrunch and arms are raised to shoulder level, this is followed through by fuller body movement. This type of phrasing and variations of it run through the dance like a weave, the beginning threads of a tapestry of movement.

Taimy Miranda Ruiz de Villa in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

Taimy Miranda Ruiz de Villa in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

Individuality is expressed as a dancer steps from the group to establish a separate phrase of movement then that being done by the  other dancers. He then rejoins the group and two more dancers step out, then three and back to one. But is more than just an expression of individuality being stated, but also an expression of freedom, an expression of strength, a certain fearlessness noted.

After witnessing MalPaso Dance Company I have to call into question the United States embargo against Cuba (known in Cuba as el bloqueo), who has it affected the most. The people of Cuba who are denied access to the United States and the many trade sanctions imposed…or is it the United States, for we are denied the access and possible influence of the rich Cuban culture, a culture just 90 miles of Florida’s shore….

Osnel Delgado has received major Cuban awards including the Premio a Mejor Coreografia del Concurso Solamente Solos (Award for Best Solo Choreography), and a Special Mention award at the VII Iberomerican “Alicia Alonso” Choreography competition in Madrid. He was a member of Danza Contemporanea de Cuba from 2003 to 2011 and founded MalPaso Dance Company in 2013, where he currently serves as choreographer and artistic director.

Alvin Ailey Dance at Lincoln Center | June 11–22….

Ailey blastAiley Schedule

INFO & TICKETS

Roland Petit’s “Méditation from Thaïs” (La Méditation de Thaïs) with Mizuka Ueno & Matthew Golding….

Méditation from Thaïs (La Méditation de Thaïs)

Choreography: Roland Petit

Music: Jules Massent – Meditation from “Thais”

Dancers:

Mizuka Ueno

Matthew Golding

Chris Mason Johnson’s ‘Test’, with Choreography by Sidra Bell opens June 6, 2014….

Test-Poster-XL-001Chris Mason Johnson’s Test is an intriguing film that takes place in the dance world during the early years of the AIDS epidemic…so many dancers were losing weight and not knowing why, their energies levels diminishing slowly and watched for the reddish purple skin lesions….Gay Cancer it was called…

In 1985 the virus that causes AIDS was identified and the first blood test was available,t for when the test. When was announced to the public, that was terrifying…did you even want to know if you had the virus…what do you do if you do.…so many did not. For some ignorance was bliss…for those that were found to be positive…many wrapped themselves in shrouds of defeat…

The film takes place in San Francisco and centers on the lives of two male dancers, Frankie, portrayed by Scott Marlowe, the young wide-eyed ingénue who is facing the challenges of being an understudy in a modern dance company where he is taunted to “dance like a man” and Todd, portrayed by Matthew Risch, who is his polar opposite, he is the rough and tumble “butch” bad-boy, free-spirited, somewhat jaded who is again and again drawn to Frankie’s innocence.

Scott Marlowe as ‘Frankie” in Chris Mason Johnson’s Test

Scott Marlowe as ‘Frankie” in Chris Mason Johnson’s Test

Monogamy was as unnatural to most gay men of this era as would be a snowstorm in Florida on July 4th.  Some men stopped having sex, fear of the AIDS/HIV virus ruling their lives, while other gay men could not and/or did not want to stop; promiscuity was equivalent to freedom, something that was denied to gays and lesbians in the early 80’s.

The film portrays Frankie living a stark and predominantly solitary existence. He listens to music on his Sony Sports Walkman (…I had one just like it…), attends rehearsals and walks around San Francisco in his free time. There is an aura of innocence about him, a young man discovering himself, finding his own voice as an artist.

This is the story of his coming of age in a time when just coming out as Gay could be so traumatic. Frankie finds himself in a world where the wrong decision could mark the outcome of your life….the person you have sex with could be the person that unknowingly infects you with HIV.

As both writer and directory, Chris Mason Johnson explores the subject matter with intelligence and sensitivity as he shows us a brief glimpse in the lives of gay men that lived during that era. In 89 minutes, he takes you own a journey that is rewarding, upsetting and real. It’s a great film and a wonderful slice of Gay History brought to the big screen. He portrays the fear, just not from the Gay community, but from the Heterosexuals as well…fear of being infected by other’s sweat or drinking from the same glass as a gay man and a time when the question was…should Gays be quarantined as a whole from the rest of society….

But, it is the choreography used in this film that has me watching it again and again. Sidra Bell has stripped away her theatrics, no foggy atmosphere, no black dungeon costumes, no interchangeable genders…it is a Ms. Bell at her best. She strips away everything and delivers movement that is emotional, raw and innovative.

The smallest of gestures is developed, a shoulder role is used to initiate the arcing of an arm that is followed through with the whole body. Though Scott Marlowe’s character “Frankie” is chided to dance like a man…I found his dancing throughout the film masculine and possessed a passion that cannot be forced, it’s either there are it’s not. Scott Marlowe with his long, lean line moved with a sensual lyricism that made me want to see him on stage in real life. Mr. Marlowe dances with and is also now an Artistic Associate with San Francisco based LEVYdance.

The film opens June 6th, 2014…

Lydia Johnson 2014 Dance New York Season at the Ailey Citigroup Theater, June 4-7…

Lydia Johnson Dance

Guest Artist: Carlos Lopez

Ballet Mistress: Deborah Wingert

Dancers:

Anthony Bocconi, Lisa Borres, Laura Di Orio, Chazz Fenner-McBride, Blake Hennessy-York, Min-Seon Kim, Katie Martin-Lohiya, Daniel Pahl, Sarah Pon, Kerry Shea, Eric Williams Guest Artist: Carlos Lopez Ballet Mistress: Deborah Wingert

June 4-7, 7:30 PM

Ailey Citigroup Theater

405 West 55 Street

Tickets: $25; $15 for seniors/students

Reservations: www.smarttix.com or 212.868.4444

Marc-Antoine Locatelli’s “Nuance” with Lucas Boirat….

Nuance – Marc-Antoine Locatelli

Video made as part of a cross workshop “Tomorrow”

Dancer: Lucas Boirat

Music: “Ants” from edIT

Coproduced by Supermouche Productions

French director Marc-Antoine Locatelli’s “Nuance” is an engrossing performance-based project worth checking out. Backed by track “Ants” (edIT), dancer Lucas Boirat interacts with a mercurial light-based form that seems to be both a source of power and opposition. Although the project surely involved a fair bit of choreography, it feels playful and improvised. That’s a harder feat than it might appear.

Leonard Ajkun’s Revolution | Akjun Ballet at MMAC…

Leonard Ajkun’s ‘Revolution’ & the Akjun Ballet at MMAC. Photo: Rachel Neville

Leonard Ajkun’s ‘Revolution’ & the Akjun Ballet at MMAC. Photo: Rachel Neville

I am a big science-fiction buff…well, geek really…I practically live for the stuff…diligently watch TV’s Continuum and I am anxiously awaiting the return of the Syfy channel’s Deviance …I’ve read all the Dune books, devoured all of Jack Campbell’s The Lost Fleet Series…and the list goes on…What can I say, I am just waiting for Scotty to beam me up…So when I heard that the Ajkun Ballet was premiering Leonard Ajkun’s newest, science-fiction contemporary ballet Revolution at the Manhattan Movement and Arts Center, well I had to be there.

The Ajkun Ballet has been on my list of companies to see for a while. The company was founded in New York City in 2000 to support the creative vision of Artistic Directors Leonard and Chiara Ajkun, Ajkun Ballet Theatre presents classic and contemporary ballets with a roster of 35 Artists, and an average of five new programs each year.

Leonard Ajkun’s ‘Revolution’ & the Akjun Ballet at MMAC. Photo: Rachel Neville

Leonard Ajkun’s ‘Revolution’ & the Akjun Ballet at MMAC. Photo: Rachel Neville

Mr. Ajkun’s choreography gives strong evidence of Russian influences, both from the Vaganova Methodology and the Bolshoi’s, his early tutelage was under Bolshoi Ballet teachers. It lies in his approach to story-telling and in his application of balletic steps, in his manner of movement combinations and in the use of the body in space.

Revolution began in darkness, the sound of thunder heard, dancers run on and off the stage in torn and ragged costumes holding pieces of plastic or cardboard over their heads. The choreography is clever and athletic, dancers hoping across the stage like insects.

Brittany Larrimer dances in a manner that enables you to find her when she is on stage, strong, confident and assured. Ms. Larrimer strength and confidence when paired with Morgan C. Stinnett natural lyricism made for a very interesting combination. Each feed of the other’s energies…both gave delightful performances.

Ramon Thielen commands your attention whenever he is on stage, he portrayed the Spirit Guide. He was mysterious, intense and kind of scary. He appears in a hooded cloak with a long pole that he places before him majestically, he wears a gold chain from his ear to his nose. His solo was a subdued form of Kathak, a Classical Indian dance form created for story-telling in ancient northern India, his foot carefully placed, his arms extended palms first.

Morgan C Stinnett & Brittany Larrimer in Leonard Ajkun’s ‘Revolution’ at MMAC. Photo: Rachel Neville

Morgan C Stinnett & Brittany Larrimer in Leonard Ajkun’s ‘Revolution’ at MMAC. Photo: Rachel Neville

Momoko Sasada and Marcello Bernard performed a superb duet. Mr. Bernard comes on stage with a small white music box, a revered treasure from another age. When he opens it, the ballerina, Ms. Sasada begins to dance, first stiff and toy-like then with grace and lyricism. She is such a beautiful dancer, emotional and at times so fragile while at others impish and playful. Mr. Bernard dazzled us with his extraordinary leaps and his strong masculine presence, the perfect yin to Ms. Sasada’s feminine yang. Bravo to both…

Luca Rimolo has to be mentioned, he is mite of a fellow, slight, thin and long limbed…I worried a strong wind would sweep him off stage…but that opinion changed quickly when he performed an all too brief solo. First, Mr. Rimolo has an exquisite line, plus he is a natural dancer, movement flows through him with great fluidity. Secondly, he is fearless with a natural presence that makes you sit up and take notice of him when he begins to dance. Bravo Mr. Rimolo…

Marcello Bernard & Momoko Sasada in Leonard Ajkun’s ‘Revolution’ at MMAC. Photo: Rachel Neville

Marcello Bernard & Momoko Sasada in Leonard Ajkun’s ‘Revolution’ at MMAC. Photo: Rachel Neville

Leonard Ajkun’s Revolution is an interesting work, is it perfect, no…but what new work is. His idea is interesting as is the way he presents his visuals, but something was lacking, it needing more. Perhaps a dramaturge would help; his story-line needed developing, given a depth that was absent. The storyline was also convoluted and at times hard to follow. I did not understand how some sections of the dance related to others, I realized that the Music Box duet was a remembrance of happier times before chaos befell mankind. Yet, at the same time I could not grasp how a woman appearing in a red dress or a section where a photographer seemed be shooting a fashion spread tied in with the whole. Nor did I grasp, though I enjoyed it, how Mr. Thielen moving in a Kathak manner related to the whole…

The work needs more of an ambience of devastation, of ensued chaos….I wanted to see a back drop or projections of catastrophic end-of-the-world imagery.  I said I was a science fiction geek; I wanted the destruction and mayhem that was seen during Planet of the Apes, both the original and the Mark Wahlberg remake, the destroyed cities, the Statue of Liberty lying broken on its side.

I hope Mr. Ajkun continues to sharpen his vision of an apocalyptic world that has been ravaged by mankind’s own greed and arrogance. The story ballets are on a huge upswing and Revolution deserves a place of pride in that genre…but with some polishing….