As a rule, critics don't review friends any more than Justices of the Supreme Court attack presidential candidates, but sometimes circumstances demand exceptions and, unlike Ruth Bader Ginsburg, I make no apology for telling you to make haste to the Sheen Center for the two more chances you have to see "Remembering What Never Happened."
Maybe that's the wrong question.
My love affair with ballet started when I was 5-years-old and began taking ballet at my aunt's dancing school in Montague, Michigan. Later, I continued at the school of American ballet where I decided I wanted to be a ballerina.
Somewhere among the late responders stands the choreographer. While the dancer can improvise her response to a cataclysm on the spot, the choreographer must devise a language of movement that must first be conveyed to a dancer who in turn must convey it to an audience.
In the worlds of burlesque, cabaret and queer performance there's no hotter couple right now than Kitten N' Lou.
Postmodern dance often values movement for movement's sake rather than movement as a vehicle for storytelling. One gets the sense that the audience happens upon these events by accident. The scene existed before the audience arrived and will continue long after they are gone.