Tuesday, January 29, 2019
Monday, January 28, 2019
Friday, January 25, 2019
This work does not embrace the standard rituals—although there are quite funny rifts of those rituals, including early on an invocation to the local god of music/performative reviewers from the Los Angeles Times, Mark Swed—these dancers are all transgressors of normative behavior, interlinking in deep sexual swoons, breaking apart and returning to one another again and again in a series sexual interlinkings, diving in and out and between their kisses, their crotches, and constant embraces with often quite acrobatic somersaults and rather impassioned headstands.
Some say love, it is a razor
That leaves your soul to bleed
Some say love, it is a hunger
An endless aching need
I say love, it is a flower
And you, its only seed
It's the heart, afraid of breaking
It's the dream, afraid of waking
That never takes the chance.
At the end of the performance, my guest for the evening, Pablo Capra, suggested that he felt nervous about several of Hernandez’s moves, particularly in the early film sequence, where the dancer struts down in deep drag tresses and in high heels in the midst of traffic on one of the major bridges that lead to East Los Angles, even reclining momentarily on the parapet looking over the railroad tracks. Later in the performance, on the slick REDCAT stage, the dancer again takes to his high heels, slinking across the stage in what appears like clear danger.
Thursday, January 17, 2019
Douglas Messerli | "Simple Songs and Wild Variations" (on Vicki Ray's and Carole Kim's Rivers of Time performance)
Gradually, as the work moves forward, the very complexities of this seemingly simple tune grow into more and more complex arpeggios, as we begin to realize through the piano’s variations of pitch that time is both limited and complex: what seems like the momentary becomes suspended in space, and the long musical intervals appear to be far-too-brief passages. It is a work that forces one to consider even the nature of music itself, as you settle in to the various variations of the tune. I could almost have listened to this dialogue between the original 1939 recording and the experimental “takes” on it for an entire evening. And I think the audience was stunned into silence when the work finally came to a close, since it might have almost spun out into an entire symphony for piano only. For me it was truly awe-inspiring, and I could not imagine how the concert might even continue after the intermission.