Sinatra Sang Bacharach—But Only Twice
By WILL FRIEDWALD
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This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.
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Silence was clamorous and stillness whipped to a froth at the Brooklyn Academy of Music Tuesday night, when the Cloud Gate Dance Theatre of Taiwan opened this season’s Next Wave Festival. The dancers’ collective grunt became a kind of downbeat as the curtain rose on dancers caught in the act of flailing and thrashing, midair and in media res in “Wild Cursive,” the final installment of “Cursive: A Trilogy.” The choreography by Lin Hwai-min uses serpentine squiggles to simulate the cursive tracery of calligraphy, blended with the pummeling legs of Asian martial arts.
By WILL FRIEDWALD
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By MARIO NAVES
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By GARY GASTELU
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By ROSS ANDERSON
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By JOSEPH CURL
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By DAVID JONES
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By A.R. HOFFMAN
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By GEORGE WILLIS
|Silence was clamorous and stillness whipped to a froth at the Brooklyn Academy of Music Tuesday night, when the Cloud Gate Dance Theatre of Taiwan opened this season’s Next Wave Festival. The dancers’ collective grunt became a kind of downbeat as the curtain rose on dancers caught in the act of flailing and thrashing, midair and in media res in “Wild Cursive,” the final installment of “Cursive: A Trilogy.” The choreography by Lin Hwai-min uses serpentine squiggles to simulate the cursive tracery of calligraphy, blended with the pummeling legs of Asian martial arts.
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