Free Theater, today tomorrow and weekend


We are pleased to offer you complimentary tickets to the LCT3 production of What Once We Felt, a new play by Ann Marie Healy, directed by Obie-Award winning director, Ken Rus Schmoll.

Set in a darkening future, What Once We Felt follows a writer’s journey through the political world of publishing, as her novel becomes the last print published novel ever.

What Once We Felt is the first of three LCT3 productions of the 2009-2010 season.  LCT3 is Lincoln Center Theater’s new initiative devoted to producing work of new playwrights, directors and designers.  More information is available at www.lct3.org <http://www.lct3.org>  <http://www.lct3.org> .

Catch this exciting production – on us – by reserving tickets to one of the following performances:

TONIGHT, October 28th @ 8pm
Thursday, October 29th @ 8pm
Friday, October 30th @ 8pm
Saturday, October 31st @ 2pm
Saturday, October 31st @ 8pm

To reserve your tickets, please email your request to dunn@lct.org <mailto:dunn@lct.org> .  Please include your name, the performance date and time, and the number of tickets (limit 4 per person).  Requests must be received by 5pm on Friday, October 30th for weekend performances.

You will receive a confirmation email.  The play runs 2 hours with an intermission.  Tickets will be held at the box office and are available for pick-up 30 minutes before curtain.

All performances are held at:
The Duke on 42nd Street
229 West 42nd Street

Enjoy!

Ashley M. Dunn
Marketing Assistant
Lincoln Center Theater
150 W. 65th Street, New York, NY 10023
P: 212.501.3216
F: 212.873.0761

Theater Tickets


We are pleased to offer you complimentary tickets to the LCT3 production of What Once We Felt, a new play by Ann Marie Healy, directed by Obie-Award winning director, Ken Rus Schmoll.

Set in a darkening future, What Once We Felt follows a writer’s journey through the political world of publishing, as her novel becomes the last print published novel ever.

What Once We Felt is the first of three LCT3 productions of the 2009-2010 season.  LCT3 is Lincoln Center Theater’s new initiative devoted to producing work of new playwrights, directors and designers.  More information is available at www.lct3.org <http://www.lct3.org>  <http://www.lct3.org> .

Catch this exciting production – on us – by reserving tickets to one of the following performances:

TONIGHT, October 28th @ 8pm
Thursday, October 29th @ 8pm
Friday, October 30th @ 8pm
Saturday, October 31st @ 2pm
Saturday, October 31st @ 8pm

To reserve your tickets, please email your request to dunn@lct.org <mailto:dunn@lct.org> .  Please include your name, the performance date and time, and the number of tickets (limit 4 per person).  Requests must be received by 5pm on Friday, October 30th for weekend performances.

You will receive a confirmation email.  The play runs 2 hours with an intermission.  Tickets will be held at the box office and are available for pick-up 30 minutes before curtain.

All performances are held at:
The Duke on 42nd Street
229 West 42nd Street

Enjoy!

Ashley M. Dunn
Marketing Assistant
Lincoln Center Theater
150 W. 65th Street, New York, NY 10023
P: 212.501.3216
F: 212.873.0761

Fall For Dance Review

To be honest, I wasn’t looking forward to the Fall for Dance show. No matter how famous the Alvin Ailey Dance Company was, I just didn’t know if I could sit through two hours of interpretative dance. The first performance at the show did not do much to clear my doubts. “Le Spectre de la Rose” was, while extremely interesting to look at and exciting for the first few minutes, rather disappointing. There was nothing in the dance that made me want to keep watching and at times, I did not want to keep straining to the see the stage (my seats were rather inconvenient as you could only see 3/4th of the stage).

The next performance, called “The Dying Swan,” was conducted with so much feeling and grace that I was immediately pulled in and couldn’t stop watching. Diana Vishneva performed this 1905 Russian ballet with a certain rawness that was much needed in the piece. Her motions portrayed her as dying and yet beautiful. That is when my hopes for the night began to rise and I settled in my seat, excited for the next performance.

And like all seesaws, Fall for Dance brought me down once again. “Snow” was aesthetically pleasing and watching Sang Jijia moving with extreme precision at such a rapid speed was extremely enrapturing… until it never seemed to end. Jijia seemed to keep going and going, and while the musical accompaniment was extremely well chosen (it was one of my favorites all night), I began wondering how much longer this could go on. Half the time, Jijia was on the side of the stage I couldn’t even see.

Finally, it was time for the Alvin Ailey performance. Needless to say, at this point I was a bit wary of all the praise I’d heard and wanted to wait before I got excited. Alvin Ailey’s dance troupe did not disappoint at all. In fact, they just about erased all my negative thoughts about the show and let me enjoy the last part of the show so much that I forgot about my qualms from before. The dancers were bursting with energy and emotion, and it was visible not only through their movements but also their facial expressions. I inched up to the edge of my seat and strained to see every dancer on stage, because missing any bit of the performance would make me feel robbed. The songs were catchy and made the audience want to sing/clap along. Watching the dancers animated faces made me more excited about their dance than they probably were. With each song, the dancing only got better and I was sad to see it end.

On the whole, the Fall for Dance show was definitely an experience worth having and the organizers made a good decision leaving Ailey for the end (therefore leaving pleasant memories in peoples’ minds).

Dance as a language

Ben Harkarvy of Julliard sees dance as ” a language without words”. It might be funny to think that dance is often regarded as a language, but to those who actually indulge in it and have made dance a pivotal part of their well-being, character, and vocation, they see it as their second language. Dance can be seen seen as therapy, it can merely be seen as an aesthetic tool, yet what people don’t know it that there is a point when what you are doing with your body takes on vocabulary of its own. The professional dancer has come a long way. There are so many styles nowadays and a result so much ‘vocabulary’ in dance. Modern interpretative dance although we call it modern, has its roots in the oldest dance styles. Its funny to believe that at one point in history man’s communication abilities relied on body movements and gutural sounds. Man in its primate days-i like to believe- would not be so surprised if he were invited to a Modern Dance company recital. The reason dance has become such a ‘language’ is that dancers describe putting their soul into it. Its an activity that many a times is based on improvisation to come up with a choreography. There are always boundaries that can be pushed as Western Dance experiences Eastern Dance and vice-versa. It is constantly growing and its been millenia that the human race has incorporated dance into its abilities for whichever specific reason. In addition, when choreographers create their thoughts come after their creation. They are create and then revise it. Its almost like writing and speaking. We speak faster than we think most of the time. Once we do so, we can go back and ‘revise’. The use of the human body can be equivalent to use of our larynx to speak. The way you speak is a personal aspect of you, and although someone else may speak similar to you, no one can exactly speak like you. The same goes for dance; imitation is crucial to creating and expanding, but no to dancers dance identically. Dance has it own individuality.

‘Ello There, Do You Speak Dance?

The idea of dance as a language would no doubt surprise most folk seeing as Rosetta Stone hasn’t yet released its “Dance” software. However, by definition, dance can be considered a language, as it is a “nonverbal method of expression or communication” (Oxford). In a literal context, bees perform a dance to communicate to their hives. If you think about it, dance was probably one of the very first human languages, as most elderly civilizations use(d) dance to communicate with the gods themselves, and I’m sure the first stubbed toe was conveyed with a dance to rival Alvin Ailey (as well as the very first swear words.)

Is Rock Climbing A Language?

 Hmmm. Is dance a language?

…you mean the language of dance? That language, that method of communicating one’s emotions and desires and, on frequent occasion, whatever one’s choreographer wishes to convey. Dance can be argued as a universal language among the world of possessors of movement.

Dance is a language because it is a means of communication and expression, and has form and structure.

That is not to say that dancers are the Spanish teachers of the world, but they can offer another perspective into an emotion or feeling or story that cannot be portrayed through verbal or written, or even musical portrayals.

Dance=Romance Languages

JQ