Run Don’t Run… No, the title of this play isn’t the only thing that is confusing and bizarre in this play.

Run, Don’t Run is definitely one of the most “unique” plays plays that I have ever seen. While Run, Don’t Run reassured me of the remarkable creative and innovative abilities of some people as I have never seen anything like it… I think there was certainly a reason why I have never seen anything like it before.

The play appears to be an attempt to visually display the art in the music as movement in the dancers bodies. A transfer of the medium of the work if you will, while still having both presented simultaneously. This is where many will begin to become lost. Unfortunately the play is incredibly inaccessible to beginners exploring the world of art. For many beginners, myself included, there is no discernable story as one would expect in a play. It seems like an hour long interpretive dance that lacks consistency, flow, and an overarching theme.

I was even more incredibly disappointed when I found out that this play funded partly by a state grant. When public dollars are being given out during an incredibly tight budget and when many people are out of work and upstate New York needs a serious influx of funds to jumpstart it back to life, I was horrified to learn that this money instead was used for this play. I have absolutely nothing against state grants for the arts, however I strongly feel that when a grant is given, it should be for a project that truly makes a significant and very real contribution to the culture of New York that can be enjoyed and appreciated by everyone. While the playwright may have intended this play for a different, more seasoned audience, one of the great things about a play is that it should be something that anybody should be able to appreciate and enjoy. Especially when one’s tax dollars are going towards it.

Nobody should be turning away from a world of art and creativity after seeing a play. Unfortunately, I didn’t just find myself being turned away, I was running away.

Run Don’t Run is a spectacular dance performance shown at the Brooklyn Academy of Music. The dance displayed many various forms of abstract and interpretative dance. It was difficult to take in meaning from the dances but I believe it was up to the viewer to take what they may from the performance.

Firstly, they emphasized the use of the resistance bands that surrounded them. I found that this created the element of restriction that continued on throughout the whole performance. It was interesting to see all the different things they could could do in the refined area they had. Even though they were restricted I believe they were trying to show how much freedom they really had by jumping around and flailing their arms in abstract motions.

Later we begin to see more usage of partnership. Paired off by opposite gender for the most part, the male and female surrounded each other in their movements, yet they seemed very distant from one another. They rarely came in contact in a direct approach. However, one partner always seemed to have a great effect on the other’s movements. The male usually came from the side or behind and manipulated the other’s location or movement. I believe that they were trying to create a situation where even though the two were so distant, one had a great impact on another.

As for the meaning of the performance that is all that came to mind, but I found many parts of this performance to be aesthetically pleasing. In other words, some parts were just cool. When the dancers paired up into groups and mimicked each others movements I couldn’t tell what was going on, but I know that is must have taken a lot of practice. Also when the dancers complimented each others movements and created wave patterns by jumping up and down at opposite times I appreciated how well timed these movements were. It intrigued me because the movements did not seem to go along with the beat of the song, so they really had to have a lot of control over what they were doing.

The performance was a bit confusing, and to some it may have been a waste of time, but I believe the questions you obtain from the performance open up your mind and I would not mind attending other performances like this.

Approaching the BAM Fisherman space, I hold no preconceived notions of what I’m about to experience. Looking up “Run, Don’t Run” on the Internet gave my no inclination of the performance. The images I found only left me with questions of wonder. Walking in to the theater, I take note that it is smaller and more intimate than any other theater I have attended.

There is no separation or definitive line between the stage and the three rows of seats on each side. The multitudes of horizontal strings that cover the stage are so close that they tempt you to touch them. After a waiting period, the lights dim and an almost techno song begins playing, filling the ears of the viewers with the rich bass. The hour-long production begins as eight skilled dancers make their way onto the stage. They weave in an out of the strings and each other, questioning the boundaries of space.

The bodies of these dancers do all of the talking, for their faces remain completely blank the entire time. This effect is emphasized when two dancers pick up a third dancer and walk them across the stage. The dancer that is elevated lies limp, with a dead expression, as the strings cut the body into separate pieces. It is a haunting experience. However, the mood changes as the song and lighting changes. The dancers push and pull each other in a rhythmic way and create a feeling of uneasiness and the feeling of being “almost there” in the my head.

Although the dancers were extremely skilled and the performance hardly exhibited any errors, the lulls created during the moments which the performers were handling the strings, were detrimental. One of the dancers had a difficult time working on the clips, which are used to bind the strings together. This caused a pause in the performance that harmed the overall cohesion of the production. I left the performance feeling amazed by the skills of these dancers, yet still unsure about the meaning and purpose of the hour.

The Brooklyn Academy of Music (BAM) is well known for its eccentric shows. One of BAM’s most recent productions, “Run Don’t Run,” leaves the viewer with a sense of wonder and confusion. This interesting take on the struggle of man against society, or perhaps against life itself, uses the devices of symbolism as conveyed by hundreds of taught ropes lining the viewer’s plane of vision. As the performance begins, the viewer is presented with an array of straight, tightly drawn ropes. The lighting is dim. As the background music begins to play, and the dancers make their initial appearances, the audience is presented with music that would make them reminiscent of a factory, not a dance performance. The music is gritty, mechanical, and unkind.

 As the performance progress, the dancers begin to manipulate the ropes. As the dancers approach the ropes, they allow their weight to bend the ropes: their eyes lack focus and their mannerisms seem mechanical and methodical. They stare into the audience as if no one is there. The dancers begin lifting one another, with two doing the lifting and the other enduring the discomfort of being pushed from either side in order to remain aloft. They continue this pattern of walking, leaning into the ropes, and hoisting one another throughout the performance. This eventually evolves into more traditional (though still far removed from tradition) dance. The dancers begin to wind their limbs around one another, with one partner leading and the other completely submissive to the will of their lead. One might compare the follow dancer to a corpse or a mannequin. The follow dancer seems to possess no will at all, save perpetuating the control of their lead.

As the ropes are drawn and clamped back by the dancers, single performers being to dance in an interpretive manner; they begin by flailing their arms and legs as if to convey some sort of anger or malice. The performance culminates with each of the performers dragging themselves toward a bright light at the far end of the left side of the stage. They move toward the light like zombies or demons. The do not move naturally, rather is as if some inexplicable force is drawing them in. It is one that they cannot resist and the performers make their final exit shortly thereafter.

The performance arguably leaves the viewer with more questions than answers. Though it is evident that a lot of thought and choreography went into the performance, the intention of the artist remains ambiguous. Further, the entire show, from start to finish, seems sloppy and hard to follow. The music, while appropriate, is almost deafening to the ear. It leaves the audience unemotionally invested in the performance. The concept of the performance is undoubtedly unique, however Brian Brooks consistently fails to attach meaning to the myriad segments of the performance. Indeed, there is a need for more finite transitions and more stability. In other words, there is too much going on without any clear purpose. It is a pity that such a group of talented dancers coupled with such an original idea fails to impress because of Brook’s inability to articulate meaning. His lack of deference to his audience was a costly mistake to an otherwise impressive production.

I’ve always held a particular fascination for art forms that are slightly out of the norm, slightly more difficult to understand and slightly more difficult to enjoy. “Run, Don’t Run” is a performance that managed to tie all of those preferences together and intrigued me so much that I was unable to look away. Today’s world is often filled with performances that rely on props and costumes and endless effects, which have to be perfectly executed without any failures. This performance can be seen as the exact opposite; no excessive make up, no gaudy costumes, no over the top props. In fact, the only props were the wires across the stage, the light show and the interesting and carefully chosen mix of music that led the performance along. Those props were enough to enhance the performance and yet not take away from the pure talent and grace of the dancers, telling a story through their bodies, which I believe could be interpreted differently by everyone sitting in the room.

I may sound like I’m raving about this performance – because I am. The thing that appealed to me the most is the fact I didn’t understand it one bit. This modern interpretative/aerobic style of dance isn’t as easy to read as ballet or hip-hop. Instead, this thoroughly choreographed dance confuses the audience, makes them wonder what the point is and that is where the beauty lies. For once, you are able to watch a performance without knowing the back-story, if there even is one. You can interpret it on your own, make up a story or assume certain things, or you can sit back and watch raw talent before your eyes.

The music, never lyrical yet ranging quite a lot throughout the entire hour, lit the dancers’ spirits, it seemed, and they moved according to every beat. Although at some points the performance seemed random and maybe slightly awkward, it always coincided appropriately with the music, which is another reason why although it may not have been a story, it could be interpreted as one. The lights, constantly changing dramatically, especially with the music, did nothing but add wonder to the show, and a certain aura and mood arose with something as simple as a different color.

The wires across the entire stage were the most original element, something I’ve never seen. Due to the strangeness of this prop, one may feel strongly towards it – either love it or hate it. Personally, I attribute half the genius of this performance to the wires and to the fact that they were sparingly used yet still made an impact on the dance. Whenever the dancers were moving the wires, the audience knew another, different part of the performance was about to begin. It added some rhyme and reason to the dance, as outlandish as it may sound since it is, after all, a strange and new idea. Although there were a few hiccups with getting the wires clipped or unclipped, there was always something else going on, on stage, and unless you focused your attention on the problem, it wasn’t a significant deal.

My last, but certainly not least, favorite part of this performance was the dancers. Never breaking character they worked their magic on the stage, hypnotizing everyone with their insanely perfect adaptation of the choreography which seemed to get more and more complex. They didn’t interact very much to begin with, yet as the performance went on and on they had a lot more synced moves or group moves, which mesmerized you left and right, since usually they were happening simultaneously across the stage.

I didn’t know where to look half the time because I wanted to look everywhere and catch every moment. Although confusing and slightly outlandish, this is a performance worth seeing to open your mind a bit about how different and beautiful art can really be.

As a first time dance performance viewer, I approached this performance as a rookie otherwise known as a “noob.” Now I call myself a noob rather than a rookie because a rookie, at least has some exposure to the activity at hand. Upon first glance at the stage, the ropes aligned from wall-to-wall, floor to ceiling gave me the impression that all the ropes would be used in which I would later be greatly disappointed. The stage itself was very appealing with the light effects during the actual performance.

The lights would probably be the one factor that enhanced the performance for me and other than that, the performance failed to keep me interested. The frequent unsynchronized movements from the jumps to the dancing was distracting and it was hard to ever stay focused when it seemed like five separate dances going on at once. This dance to me could be describes as organized chaos. If there was only one dance going on, it would have enhanced the experience for me so much more allowing me to revel in the individual movements and the flow of the body. However, the different dances only served to enhance the chaos that should not have been there.

However, what was even more disappointing contributing to the organized chaos was that the ropes became more of a distraction rather than an enhancing effect for the dancers. While a dance was occurring on the other side of the stage, the ropes served more as a distraction as I couldn’t see what was happening. Additionally, for half the dance, the removal of the strings was questionable for me as it seemed it was attached together with hooks and then taken apart and attached again. Not only did this seem like a waste of time but it also seemed as if the choreographer was trying to convey something that could not be relayed to the audience.

“Run Don’t Run”… Where do I even begin to talk about this carefully-choreographed display of artistic wonder. This beautiful masterpiece, which was sponsored by the 2013 Next Wave Festival and created by Brian Brooks, had its debut at BAM in late October. I had the pleasure to experience the show on Wednesday, October 23rd, and after seeing something like this for the first time ever, I must say please do run to see this performance before it’s gone for good. I would gladly recommend this to anyone who is looking for something new to watch and any individual who is an appreciator of dancing or the arts.

I’m going to be completely honest here folks- when I first went in that evening I was not expecting much. One could say that I felt truly skeptical and doubtful of the event. But this quickly changed as soon as I walked into the stage in which the show was being held. When I saw those symmetrically arranged sets of wires set up throughout the stage, as if they resembled the strings on a musical instrument, I was suddenly struck by a feeling of mystery. “What is this all about? What’s going to happen here?” These were the types of questions that I suddenly bombarded myself with as I took my seat near the front of the area and waited patiently for it all to start.

Then, out of nowhere, the lights went dim, the group of performers- both male and female- entered the stage, and a wide array of rather interesting background music, which accompanied the entire performance throughout, came into the scene. I personally found it very visually compelling that the rays of wire began to change colors and illuminate. When the show started, I also found the wide range of choreographed ‘dance moves’ to be even more impressive.

The range of dynamic arm and leg work consisted of many different rhythmic movements comprised of varied ranges of tempo, speed, and difficulty. I have noticed that the performers began the show slowly, walking near and around the lines between the sets of wires, attempting to build anticipation and give their audience a little taste of what’s to come. Soon enough, this transitioned into a display of artistic finesse and beauty for what would soon become an hour-long masterpiece of dancing, grappling, running, and surprisingly enough many martial arts-esque ‘fighting’ as well. It is clear that these guys tried to put everything they could into this from pushing to pulling and waltzing. The dancers did everything when attempting to do their routine, which included both trying to avoid and use the wires to to their advantage.

The thing about the show which I thought was the most interesting was not the technical music score by Christopher Lancaster, the presence of the wires on stage, or even the movements of the dancers. The most memorable thing I remember from the performance would have to be the fact that they succeeded in combining all those things together to make a remarkable show. The effort and talent that the performers put into this, the way they took turns leaving and entering the stage to emphasize their importance, and the way that they took a simple dance performance and turned it into a work of art. With the styles of dancing and musical scores as well as the choreography of the dance moves, Brian Brooks managed to make this show into a type of ‘story’ or ‘play’ by utilizing the conventions of such. The show started slow with walking, built itself up with time into dancing, climaxed with fast martial arts fighting and grappling, and finally finished itself up with slow movements once again.

In conclusion, I had a lot of fun with “Run Don’t Run”. There were many things that I enjoyed about the show, and I could say that the strengths of it, such as the music and choreography, definitely manage to overcome the weaknesses, such as the slow pacing. So please, go check this one out if you can, because it definitely will not be around for long- tickets run out fast! This show really surprised me in a good way and it currently may be the best performance I have seen to date. I give “Run Don’t Run” two thumbs up!

At Brooklyn Academy of Music, also known as BAM, the performance “Run Don’t Run” took the attention of a fairly large audience. Strings could not be a more obvious sight to notice as they stretched across the whole floor, as well as extended almost to the ceiling. They were separated horizontally by a gap big enough to fit a person or two and vertically by about half of a foot. The strings seemed very flexible and easily bendable. There were also lights on the floor and on the walls.

As the dance was about to start, the whole room went dark. Then, a white light was shown on the floor. Strange music began to play as two of the dancers pursued each other in a jumping motion across the floor. As the dance performance progressed, more of the dancers came out and continued to go on with the somewhat strange dance moves. ‘Chapters’ of the performance were separated by a change in the music and its intensity, as well as the intensity of the dancers and their dances. Even the lights helped create a different mood between these transitions. During these sections of the performance, the dancers seems to do motions that fit the mood generated by both the lights and the music. There were several of these ‘chapters’ that occurred throughout the performance and within an hour, the performance had ended.

In regards of analyzing this performance, I was extremely confused at what had just occurred for the past hour. Most of the performance did not make much sense to me. I felt that it was redundant and severely extended as if it had to fill in the hour performance one way or another. However, I did understand some of what the dancers were trying to possibly portray to the audience. This portrayal was shown for me through the use of the music and lights.

An example of this would be in the first half of the performance. After very intense music and movements, things started to slow down. A somewhat dark blue light had shown itself on the floor and calm, passive music ensued. During this mood change, the dancers were executing a swimming motion next to a partner. It involved graceful movements as they kneeled on the floor doing this for about three minutes. Another example where I witnessed the strings were clamped together and a waltz-type of dance was done. The dancers moved in and out of their partner’s grasps and swings, as well as through their arms and around their bodies. As this occurred, a bright white light had shown and adventurous music played. This proceeded for about 15 minutes with many different variations and switching of partners.

In essence, I feel the main idea presented through the performance “Run Don’t Run” was the exemplification of bodily expression. If this holds true, I commend this performance for doing a fairly nice job of portraying this theme. The dancers moved their body with the music and conformed themselves to their partners when paired off. This occurred either gracefully or harshly, maybe even unusually, with the mood radiated with the music and lights. As for the strings, they acted as both barriers but more so as a way to view the body differently. The body is a barrier to the environment and represents the “I” and how one is a “being.” However, if this assumption does not hold true, I could not begin to fathom what the purpose of this performance was.

“RUN DON’T RUN” – Run, don’t walk, away from this one.

Run Don’t Run, a performance put on by the Brian Brooks Moving Company was unlike anything I have ever seen before. Yes, it was bright, and yes the dancing was there, but that was it for me. The dancing, was just there. It did not feel like a cohesive show, and twenty minutes into it, I felt my head rest on my hand, waiting for it to be over.

The show starts out with strange music, and with even stranger movements by the dancers, who start to push themselves into the multi-colored, elastic strings that occupy the dance floor. Eventually they begin to perform other random movements, which at times were quite exciting; but alas, those were only fleeting moments in a show entrenched in the need to be “different” for the sake of being “different. As a disclaimer, I must admit that this review is bias. I enjoy watching theater, and love going to see a great musical, one that not only incorporates music, but dance and dialogue. Watching this show without any prior knowledge of what it’s supposed to symbolize or be is as confusing as the subway system must be for tourists just arriving in New York. This performance has no guide to tell you what you’re supposed to be seeing and thinking, letting you explore and reflect on this show in your own way.  For this particular reviewer, this was not a good thing. There was too much interpretive dance included in this performance, which caused the viewer to want to focus on other things; such as the colorful strings and the surrounding dancers waiting in the shadows to jump in.

Fortunately, there were some glimmers of light in this rather dark and clouded show. The dancers themselves were excellent, being able to contort their bodies into all sorts of different shapes and angles. They were  professionals who had pride in their dance, no matter what a critic like me might say about it. In the middle of the hour-long performance, the dancers seamlessly moved the cords out of the way, making a traditional plateau were I was finally able to see some exciting dancing; not just random jumps and seizure-like movements. This part of the show was absolutely mesmerizing, and made me yearn for more of a traditional dance recital, instead of the contemporary, confusing performance that I saw. The dancers seemed to be intertwined with each other, as though they were a yin and yang, both fighting for dominance over the other.Sadly, as this was towards the end of the performance, it ended rather abruptly, and was replaced by more movements that made me lose interest, causing my mind wander off once again. Run Don’t Run is the absolute pinnacle of a performance that wants to stand out, be different, and cause a revolution in the art world; but unfortunately it fails. While it does stand out, it’s for the wrong reasons. Instead of a fluid performance, it felt disconnected and broken, not really going in one direction or another.

Although Run Don’t Run might appeal to some with its strange dances and awkward motions, I would not recommend a visit to BAM to specifically see it. Even though it is supposed to be a “Choreographed” performance, it barely every feels like it. Unless you want to suddenly appreciate classical dance and yearn for simpler, less chaotic times, I would skip this performance.

Brian Brooks’ interpretive dance, Run Don’t Run, featured at the Brooklyn Academy of Music last week (October 22-26). Brooks is known for his daring choreography and abstract set designs, and was recently awarded a 2013 Guggenheim Fellowship. In Run Don’t Run, Brooks tests his dancers physical endurance through an hour of specific, dynamic, and kinetic sequences of movement.

The set of the show was designed by Brooks to specifically amplify the motions of his dancers, and the limitations and resilience of the human body. At BAM Fisher, the dance takes place between the two sides of inner-facing seating, where hundreds of bungee cords are stretched from one end of the theater to the other. Throughout the dance, the dancers use the cords in a multitude of ways. Whether it is by leaning on them towards the audience, dancing between them, being carried over them, or dancing underneath them, the dancers utilized the set throughout the entire performance.

As previously stated, Brian Brooks is a daring choreographer. His eight dancers do a marvelous job of dancing his trying, hour-long routine. Not once does the choreography appear easy: the dancers carry each other across the room; synchronically jump across the room; and harmoniously do intricate motions with their arms and bodies. The difficulty of Brooks’ choreography is apparent on the faces of the dancers in the form of sweat. Only once during the performance does a dancer falter from a deadpan expression. That takes a lot of internal power.

The meaning and story of the dance is rather difficult to decipher because of how abstract the choreography was. And, since there was no story outlined to the audience other than a symbolic one portrayed through the dance, that probably only those knowledgeable in the art of dance and choreography would be able to fully interpret, we – non-professional viewers – are left to presume the story that the dance projected. Personally, I feel the dance was the story of people being let out from an insane asylum – or escaping one – in reverse.

The choreography at the end of the performance made it seem as though the dancers were in a straight jacket and could not use their arms. Their movements were very restrained. The beats thundering in the ears of the audience aid this feeling of darkness. In the beginning and middle of the performance, the dancers have much more mobility and do a lot of motions with their hands – possibly signifying that they are finally free from the asylum. Also, the overall tone of the choreography is much more positive and happy in the first two thirds of the routine.

This theory of mine is most likely horribly wrong, but that is the beauty of interpretive dances: not knowing. It is this unknowing that coaxes viewers to use their imagination to make their own assumptions about what they are seeing, which draws their attention to the performance. Not knowing causes viewers to think and to be engaged. Brian Brooks and his dancers do a marvelous job of evoking thought and imagination from their viewers, and that is the art of interpretive dancing. If you like performances that make you think, you will definitely enjoy Run Don’t Run.

Choreographer Brian Brooks did an amazing job with the dance performance, Run Don’t Run. He is known for creating precise and dynamic choreography that tests physical endurance. These movements were seen throughout the whole performance. Each performers movement flowed from their own to their partner’s during the paired “fight” moves. Sometimes these “fight” scenes became chaotic because I could only focus on one pair while something different was happening elsewhere. However, they were organized enough to ensure that there was no clash between these paired “fights”. Everyone moved nimbly to the next set of dance moves, there was no awkward transition. You could see the strength and endurance involved in this performance; there were many lifting and jumping sequences. You could also tell by the sweat dripping from the performers and their heavy breathing. One performer had a bandage on her foot but that did not stop her from performing such tiresome moves.

Though this was a dance performance, the lighting and music for the show brought it all together. Joe Levasseur, the lighting designer, managed to change the lighting on the floor and ceiling sets. Lights on the floor illuminated the path the dancers would take and the lights on the ceiling highlighted the strange rubber band strings. They kept changing colors, which was enjoyable to watch. Music by Christopher Lancaster set the tone of the choreography in a way. Loud, fast paced music was used for the “fight’ scenes and slow, smooth music was used when the movements were more gentle. All the elements used during the performance are what made this performance whole.

Run Don’t Run was like nothing I have experienced before. Never having the opportunity to attend a dance performance, I did not know what to expect out of this trip to the BAM. I have to say I was pleasantly surprised. It was a light show with dancing and music. At first glance the performance was confusing and weird but as the night progressed my liking towards this increased. The dancers were focused and there were little to no mistakes. While watching the dance you probably wouldn’t even be able to detect mistakes because of the way this was performed. It was chaotic yet ordered. I definitely recommend attending this dance performance. One hour flies by when the fluid movements of these performers and their accompanied spotlights and music entrance you.

Run Don’t Run is a work of dance choreography by Brian Brooks. Brooks is known for his choreography that pushes the limits of the human body. He was awarded the Guggenheim Fellowship for 2013, and in the past he was awarded the NY City Center Fellowship, the Jerome Robbins New Essential Work Grant, and the National Dance Projects Production and Residency Grant. Run Don’t Run is just one of many works of choreography put together by Brooks.

Run Don’t Run was shown at the Brooklyn Academy of Music from October 22-26. The choreography was designed to test and explore the limits of the human body. The dancers began the intense hour-long journey by walking or jumping the length of the stage, which was filled floor to ceiling with bungee cords spanning the entire length of the stage. They would lean and lie on the cords, and occasionally they would change the density of the cords in a specific area, creating entirely new effects. As the hour progressed, each change of choreography got progressively more difficult. Dancers held each other up, over their heads, and walked the length of the stage. They dragged themselves along the floor just using their legs, and they performed hypnotizing partner work, sometimes with three or more people.

The bungee cords were used to cut and distort the dancers’ bodies, showing the same actions from different angles. The glaring blue, white, and red lighting added to the warping of the dancers’ bodies. The partner work done was exceedingly difficult, looking like a fight or a graceful boxing match. When a third person was added, the “fight” took on a whole new form and became even more powerful.

My interpretation of this choreography was one of an abusive relationship to an extent. There were dance combinations that I believe were to show off the strength of the human body, but there were certain dance combinations performed that provoked emotion. When the couples would perform partner work, it seems almost as if they were locked in battle, fighting one another. One partner would seem to be running away, and the other would pull him/her back. When a third party would intrude on the “fight,” it always seemed as if they were pushed out of the way. These dance moves specifically looked graceful yet rough.

Overall, I thought Run Don’t Run was enjoyable. I appreciated the skill and physical endurance the dancers possessed. Dancing like that is not an easy task. I would go to see it again.

The performance of, “Run Don’t Run,” at the BAM may have been one of the most confusing hours of my life. Lost from the very beginning, I spent most of the performance trying to figure out what was going on. It started out with the dancers carrying each other and escalated from there.

Some of the actions of the dance made no sense to me. One man was running and then face planted into the ground. At first I wasn’t sure if that was intended or if he just fell while he was doing his run. Later on, they were all on their knees doing swimming motions. They spent much of the performance doing something that appeared to be fighting each other. But it was a casual fight and there did not appear to be anyone winning.

I could not pick up on the story. So much was changing so fast and so many actions seemed random to me. Especially when the performance relies solely on dance and no words, relaying a clear message becomes even more important. Unfortunately, I could not figure out what the purpose of the dance was.

As confused as I was, there were many aspects of the performance that impressed me. The strength of the dancers was obvious, as they worked for an hour on a physical dance without any breaks. The timing was also perfect. Many of the dancer’s actions involved interacting with another dancer. Unlike a traditional partners dance, such as a tango or waltz, a lot of the actions between dancers seemed arbitrary. The randomness of the dance moves made the memorization of their own moves even more important. One mistake, and it could effect whatever their partner was doing.

Aside from the dance itself, the effects were striking. The type of music used fit the dance perfectly. The lighting was used extremely well. The spotlights that were focused on the dancers were accompanied by colored lights, which created brilliant imagery. The colored lights changed the colors of the numerous wires being stretched across the floor. The wires changing colors added interest to the performance. In addition to the wires changing colors, how the wires were used and altered throughout the performance was also fascinating.

Overall, I was not crazy about the performance. While the effects and music kept my interest, the type and style of dance is not for me. I appreciate the skill, time, and effort the dancers put into the performance and I understand that it takes a great deal of talent to do what they did. But personally, I would not go see it again.

Run Don’t Run was quite the different experience for me.  It was my first time attending this kind of an event.  I wasn’t sure what to expect because of the fact that I haven’t had much exposure to theatre arts and dance.  When we arrived, I was intrigued by the many strings and their colors.  I thought it was very unique and distinctive compared to Broadway shows, operas etc.

As I was watching the performance, I saw three things: gracefulness, authority, and perfection.  It was surprising to me how flexible the dancers where, whether male or female, and how they applied this gift to the art of dancing.  I think that this is the most important aspect of a dancer: how they can apply flexibility and create graceful movements with it.  On a side note, one thing that interested me greatly was the fact that the dancers were from all different places; one dancer being from Singapore.  I think that diversity within this group is very important to the success of the performance.  Because they are from different places, each individual will have different skill sets and can both help and share it with each other.  The other thing I saw was authority.  What I mean by this is that each dancer, whether out as a group or by themselves, was able to take authority of the room and keep the attention of all the watchers.  They took control of the room and were able to keep everyone attentive.  The last thing I saw was perfection.  From their performance, I could tell how many hours of practice and dedication were put into each dance move.  Although the performance wasn’t completely flawless and there were a few mess-ups, I could see that this was put together with meticulousness, thoroughness and practice.  Whether the performance was exciting or not, I respect the dedication that each dancer has put into the arts.

I felt that props were slightly distracting to the performance.  Although the strings had intrigued me when I walked in, I didn’t see how they were necessary for the performance.  I think that the dancers could perform an equally well-done dance without the use of strings.  Nevertheless, despite the strings being distracting, the dancers were able to keep the attention of the audience throughout the dance performance.  On the other hand, one aspect that I believed was essential to the performance was the music.  Music was not just an extra to the performance.  It was a companion to the dance.  Both the dance and music were synced together in order to set the tone, mood and speed of the dance.

Overall, I did enjoy the dance.  It was an interesting first time for me and if given the chance, I would contemplate going to another one of these performances.  However, I am still a little confused about the message of the whole dance.  I felt that the meaning behind the dance was quite unclear.  If I were to give one aspect that needs improvement, I would say that the dance needs to more effectively communicate the message in a clearer manner.  Not fully understanding the message can cause audience members to not enjoy it as much as if they knew what the whole thing was about.

The performance of “Run Don’t Run” at BAM, which was choreographed by Brian Brooks,  was something really interesting and unlike anything I’ve seen before. Something I truly had appreciation for the amount of strength and endurance it must’ve taken for those dancers to be able lift, jump, and dance for an entire hour. They often repeated their motions many times, which could get a little tedious and boring at times. What I loved the most about this performance was the partner work that went into it. The dancers were able to mirror each others’ motions really well and they stayed perfectly in sync throughout the performance. It really proved how much rehearsal and practice they must have done to be able to partner together and have such a perfect flow and precision to their partnering. Not only did they mirror each others’ movements, but they also were able to use their arm motions to flow together almost as one person. Two and sometimes even three people were able to partner together and use their entire bodies to come together and move as one. I also enjoyed how they used strings to add an interesting element to their dancing. Throughout the dance, the dancers bend the strings, lay on them, and use carabiners to link some of them together. It makes the performance more interesting to have them using the strings rather than just watching them dance. The hundreds of horizontal strings contrasts with all the flow and curved motions of the dancers’ partner work and also cuts the image of the dancers’ as they move from one side of the stage to the other. It really helps show how curvy the dancers motions are against the sharp lines of the strings. The different colors of light and change in music help show the change between parts of the performance and helps create a different mood for each changing scene. The different colors of light also reflected off the strings, changing the color of the strings, and sort of emphasizing the strings’ presence. The change of light and music clearly showed a change in the piece, but I wished the dancers’ faces would go along with that change. The dancers’ all had the same blank expression throughout the performance and I was wishing they would use their faces to show a change in mood like the music and lights did. Overall, I thought this performance was very interesting and I would recommend others to go and see this performance.

The eight of them as supermodels strutting through rows of bands that appear as lasers with the red lights shining on them, look straight ahead, keeping their focus with the beat of the new age music playing. They wear casual clothes yet formal faces. They occasionally stop to press up against the bands with blank stares into the audience. They raise each other and lower the bands. They go through different rows at different times, but it’s in mechanical order.

This is just the beginning of Run Don’t Run, a performance at BAM, the Brooklyn Academy of Music, from the 2013 New Wave Festival featuring choreographer Brian Brooks Moving Company. The rest of the hour-long show is quite dynamic and a truly unique experience for everyone in the audience. As the theatre fills with energy from the dancers, each viewer takes a different journey.

The music and lights change – the style of the performance changes. But the performers’ spacey faces remain straight, with the exception of one slipped smile and moment of eye contact. However, the progression of the unknown story continues. The meaning behind the show is really quite mysterious. It is interesting. It is open to interpretation.

Still, ideas will be formed by what one sees and hears first, followed by what one thinks. In Run Don’t Run, one will see amazing contemporary dance. One will witness the great strength, agility, and grace of the dancers. One will see the sweat of their bodies drip to the floor, where their bare feet move so swiftly. One will hear a variety of music and sounds. And when these noises are quiet or absent, one will hear the breathing of the people on stage.

And it is those people on stage – four men and four women – that make the show what it is. They destroy gender roles, create a sense of community, and preserve individuality. Their emotion is in their motion and their energy is marvelous. They make Run Don’t Run just brilliant.

At Brooklyn Academy of Music Fisher Theater, Run Don’t Run was performed by a group of potential young dancers. When arriving in the theater, rows and rows of thin, flexible red strings were placed above the audience’s heads and in the center of the theater. From how flexible the strings were, it was obvious that the dancers will not be dancing on them. Indeed, during the performance, the dancers were utilizing the strings to do well in their show.

When there is a dance, there is music to accompany it. The background music changed as the performance continued. Moreover, the melody chosen matched the rhythm of the dancers really well. When the dancers were making large movements, the music will change to a strong, medium-fast tempo. When the dancers were doing slow movements, the music will change to a soft, slow tempo. In addition, the classical music played in the background had a relaxing effect for the audience. The dance and music combination lead to a enjoyable experience.

The dance performance, itself, is also magnificent. All of the performers danced beautifully and with confidence. The slow and elegant moves in the performance showed that it reflected the performance’s name, Run Don’t Run. Such as, in the middle of the performance, the dancers looked like they were in a brawl, but it did not actually look like it was a fight. The motions were so slow that it looked like an elegant dance to me. The members had great synchronization in this part. There was little to no mistakes that can be seen when they were doing this scene. The actions done by one member were received really well by the other member. Though, when the members were doing a flying-bird motion, the females did it better than the males. The females who performed this action had more flexibility and elegance to it. The males made the flying-bird motion look a little like a robotic motion. One point that needs for compliment is one of the female dancers was injured. Even though her ankle was injured and bandaged, she still danced just as much as her other colleagues. With that injury, the dancer still performed with confidence and she did not let her injury affect her.

The ending to this performance was a fabulous ending. This was actually a repetition from the scene in the beginning. The scene showed all of the dancers walking to different sides of the theater leaning on the strings, showing their faces to the audience. This was a great way to end the show, as this was how the performance began. The dancers did not show emotions during this entire performance, but nonetheless, we can feel their emotions through this magnificent dance.