This weekend, Levi Gonzales premiers his first completed work in 4 years at Brooklyn Arts Exchange.  The result of a year-long BAX Artist Residency, “Intimacy” is a solo performance that uses text, meditation and movement and was developed in collaboration with dramaturg Susan Mar Landau. I spoke with him briefly this morning.

I read in your recent Brooklyn Eagle interview that there were substantial financial issues, in addition to your artistic interest that fed the choice to make solo work. Can you talk a bit more about that? It was partly financial. I am still in debt from clusterfuck in 2007. I’ve been thinking about how to create a working process where I don’t compromise because of money and I’m working within my means. I don’t want to completely llimit myself to money, but keeping things within the realm of where resources are available without forcing myself to do less was an interesting challenge. Doing a solo seemed like it would be great with this residency. I didn’t have to worry about paying many people and I could just dig in. The way I make material is something I wanted to focus on. The role of being a director is more complicated than focusing on what it is about dance that I’m interested in. Also, knowing that I will soon be doing a group piece soon gave me permission to do a solo.

I’m interested in your use of meditation in the work. I recently wrote about watching performance as a meditative practice in response to Andy’s ‘watching performance as a spiritual act’ which was a response to Claudia LaRocco’s inspiring piece in the Brooklyn Rail about consciousness. The meditation that I’m doing is partially out of personal need. I’ve been very interested in Buddhism in the past year. It’s been a rough couple years in personal and artistic ways. I had one foot in dance and one foot out. I’ve been reconnecting to enjoying dance as a way of life. So, it’s been a hard couple years and meditation has been what has helped me. I’ve been secular about it while also studying it and reading. Because it was a practice I was already actively engaged in, I thought I’d see what I would do in the studio with it. It also anchored the solo practice. With solo work, I could get lost in confusion and insecurity, but instead it anchored my process, so that every rehearsal that began with seated meditation and movement improvisation. It was a little container that allowed me to build a practice of being in the studio and not just have that time about creating material. I kind of do meditation in the work. The whole experience for me in meditation has been about canceling out extra noise or my defenses or things that complicate or obscure. The structure of this piece has paralleled that in ways that allow me to take out elements of craft or production, to reduce it to something more direct, simple, clear, less complicated. That has in the last few months of the process been my guiding principle in uncovering the piece. The meditation practice I study is Shambhala. You sit with your eyes open and whenever your mind wanders you say  to yourself ‘thinking’ and saying that puts it in a container with the goal to do that without being upset with yourself. Even getting to the word ‘thinking’ is amazing. You can get so lost in your thoughts. In this work, people who have seen the showings catch this idea that there is this relationship between the effort to be present and the way we construct language or thoughts to avoid that; that the differences between talking about dancing and then, physically dancing are in some ways parallel to this meditative practice. Sometimes the thinking about it is the doing and sometimes the doing explodes the thinking about it. I’m trying to deal with the relationship between the two and working with text. It’s hard to work with text, it’s scary. It’s one of my biggest anxieties. I keep changing the text even today.

How are you relating the solo form itself? The piece is so much about performing and my personal relationship to dance. So the solo is perfect because I can’t hide behind craft and what I’ve learned is that that is what keeps getting distilled or removed. Anything that feels like traditional choreographic craft ends up feeling too calculated or removed. I started with ‘how do I arrive at form with dance.’ How can I manifest my interest in movement and the body, in presence, into form. Whenever I try to make movement I’ve been frustrated and end up cutting it mostly. Your most traditional idea of choreography tends to be what I remove from the work. Rather than define the shape and figure out how to perform it, I’m alone and figuring it out as I do it. I’m committed to making something that is more than just me and my steps. Also, by making a solo for myself, I don’t need to negotiate parameters with someone else.  I do have a dramaturg. When I have to communicate with Susan it makes it more concerte than when I’m just with myself and with her, she reminds me to be responsible to the ideas I’ve put out there, that I’ve spoken.

Popularity: 3% [?]

Cathertine Cabeen, whose "Into the Void" will be included in its entirety tonight (Friday) in the Low Lives 3 Festival

This week Andy has got a full dance card. He will be seeing The Anthropologist’s Another Place on Thursday at HERE. Friday night is Ivo Dimchev as part of “Balkan Express” in the Performance Mix Festival at Dixon Place. Saturday afternoon he’ll be checking out Immediate Medium‘s multimedia show for children of all ages, The Assassins Chase Pinocchio at CSV. Saturday night will be Paul Lazar in Suzanne Boganegra’s new show When A Priest Marries a Witch at The Chocolate Factory and Sunday … well that’s TBD takes him to the Incubator Arts Project for The Nerve Tank’s Opal.

This week Maura D. spoke with DanceNow’s Executive Artistic Director & Producer, Robin Staff, about shifting their Fall Festival from DTW to Joe’s Pub, caught Nicole Wolcott’s Valley of the Dolls spoof, part of DanceNow’s Featured Artist program, at Joe’s Pub last night, and talked to Levi Gonzalez about his newest work (running tonight and tomorrow at 8, Sunday at 6) at BAX. (Review and interview coming soon).

Jeremy is relaxing this weekend. Tonight he plans to catch his friend Catherine Cabeen’s new show broadcast live as part of Low Lives 3, and possibly heading to the Cunningham Theater for WestFest Dance Festival, which features a few very interesting up-and-coming artists.

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Low Lives, an innovative festival of “live networked performances” goes down Friday, April 29, and Saturday, April 30. Here’s the deal: Friday night starting at 5 p.m. Pacific/8 p.m. Eastern, the above LiveStream feed kicks in. For the first three hours of the feed, you get to catch five-minute excerpts of live performances from…well, all the hell over the place. (See the site for a full list, not in order.) Then, at 8 Pacific/11 Eastern, the full-show starts: Seattle’s On the Boards is presenting Catherine Cabeen & Co.’s Into the Void in its entirety. Saturday, you get another sampling of five-minute snippets but no full show.

So not only is the idea cool in and of itself, but, well, I totally dig Catherine Cabeen, as I’ve mentioned once or twice in these digital pages. A former dancer with both Bill T. Jones (she actually performed roles he originally choreographed for himself, apparently) and the Martha Graham Company, Cabeen is a remarkable dancer most recently seen supporting Richard Move at DTW. Into the Void is, if I’m not mistaken, her first evening length commission, an exploration of the work of French artist Yves Klein, and features, among other performers and collaborators, her equally talented former Jones Co. dancer Germaul Barnes. Cabeen has herself written at length on the inspiration and ideas behind the piece (she’s hella smart), and it’s certainly worth reading.

Low Lives Festival is a co-production of Jorge Rojas and Chez Bushwick, and if it turns out you like Cabeen’s work, she’ll be at the Joyce Soho twice in the upcoming month: once for her own evening in May, and as part of the A.W.A.R.D. Show! All-Stars in late May/early June.

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Ryoji Ikeda, one of the world’s leading electronic composers and installation artists, will transform Park Avenue Armory’s 55,000-square-foot drill hall into a dynamic digital and sonic environment, flooding the senses with projected and synchronized light and sound. Visitors to the Armory will be subsumed by a flickering landscape of binary code, black-and-white color, and digital sound—an artistic experience choreographed and composed by Ikeda from a seemingly infinite stream of raw scientific data. the transfinite marks the first time that American audiences will be able to experience the work of this multimedia artist at such a large and immersive scale. In conjunction with the installation, there will be an Artist Talkwith Ryoji Ikeda on Saturday, May 21 at 2PM.  I hope that you will consider developing listing coverage of this vibrant experiential installation.

Click here for more info.

Popularity: 33% [?]

Naming Conventions: Over at Parabasis, Isaac Butler takes strong disagreement with the Deborah Pearson’s Exeunt essay on narrative I linked to a few weeks ago and praised; George Hunka had a pair of more positive takes on it. Butler’s critique is scathing but mostly in an editorial fashion, and in the process he sets up a bit of a straw-man argument, but at heart he’s got a very valid point: one of the challenges I’ve faced trying to make a similar point comes down to how we name things. “Narrative” is far too broad a category, and those of us throwing bombs (myself included) at contemporary theater practices need to learn to be more clear and specific. That said, people who disagree with us might also at some point choose to defend their position, which defines “theater” as the way things are done now in the mainstream–playwright driven, standard production process, using a set of production and performance techniques taught in colleges and studios all over the country and indeed most of the advanced Western world. Everything else is apparently an attempt to radically deviate from what’s in reality just the mainstream conception of performance today. And furthermore, of course, more people need to deal with the reality of theater as a live art, and distinguish the text from the text-in-performance (in other words, Shakespeare today ain’t Shakespeare in Elizabethan England, anymore than Greek drama in an NYC theater is truly akin to Aeschylus at the Festival Dionysus). Point us, read all of these pieces on narrative if you haven’t already, because this is actually a very rich and fascinating discussion, and check out the comments.

O Solo Mio!: Okay, that’s a really bad pun but cut me some slack–yesterday was my birthday and my head’s not really in the game. Over at HowlRound, playwright and occasional solo performer Susan Miller has an essay on how she came to solo performance, and it’s definitely worth the read. I have a real love-hate relationship to solo performance: I’ve seen some truly amazing stuff, and I’ve also seen how it’s often a formulaic, even ossified, form that mainly serves to scream, “Look at me! I AM!” Too much of it is painfully autobiographical, and I occasionally find outright uncomfortable to get to see the artistic process by which violence is done to true-life experience to make it fit a fictive convention that may or may not move an audience. But I always stick with solo performance and subject myself to it because often, it’s solo performance to which creatively stifled actors and writers turn when they begin to realize standard theater conventions today don’t permit them to create the sort of work they want to do (and I want to see more of). In fact, the health of solo performance depends, I’d argue, on how close-minded most theater practice is, but that’s a different story. Also, I’d like to plug at the same time Seattle’s Solo Performance Festival, about half-way through its run. It’s a kick-ass, up-by-the-bootstraps fest of often exciting work performed on a shoestring budget, and my former site The SunBreak is one of its media sponsors this year, and we have coverage of pretty much the whole fest.

Furious Fools: Very cool bit o’ news out of SF–foolsFURY Theater is putting together their own festival of ensemble-driven theater work, one of the only fests of its kind in San Francisco. FURY Factory goes down starting June 7, and features companies like Pig Iron (Philly), Theater Movement Bazaar (LA), and Band of Toughs (Denver). It’s a fascinating and ambitious line-up, and we should all be nice and help contribute to their Kickstarter campaign to fund it all.

Dance Schtuff: We got…nothin’. Really. Come on people, help us out–surely somewhere out there on the Inter-tubes there’s a bunch of bunheads screaming at choreographers about something, working out ideas online and discussing the fine and vibrant art-form of dance. But honestly, this author hasn’t found too much yet. There’s itch journal (not online), Critical Correspondence, Dance magazine, and…? Help us out!

Odds & Ends: Andrew Haydon on King’s Head pub theater’s amazing In-Yer-Face Opera, where Mark Ravenhill is updating Monteverdi – Dance magazine profiles choreographer Andrea Miller – Guardian theater blog on contemporary playwrights’ lack of artistic ambition – Upstaged looks back on the history of making Anything Goes PC (we like musicals, too) – Lynn Nottage’s new meta theater piece, on Wicked Stage – Exeunt on the one-on-one theater festival, another cool thing London has more of than the US – Bellyflop interviews emerging performance artist Stacy Makishi

Popularity: 27% [?]

After six years presenting their Fall Festival at Dance Theater Workshop, DanceNow will bring the Dancemopolitan Festival from October 19 through 22, 2011 at the soon-to-be renovated Joe’s Pub. Since 2003, DanceNow has been presenting showcase format programs at Joe’s that more recently evolved into their Featured Artist Series (with Nicole Wolcott and Vanessa Walters’ premiering Alley of the Dolls: This is not a sequel this week). The Dancemopolitan 2011 Festival will be presented in a similar, but slightly new format for the newly renovated Pub and the best tiny stage in New York City. I recently spoke with Executive Artistic Director and Producer Robin Staff about the shift.

Your move makes a lot of sense in so many ways. Your dance programming at Joe’s has offered up something very different from the typical dance presentations around the city. What prompted this? It set us apart. With everything that is changing we had to take a good, hard look at ourselves and had to see what do we do best. We took our own challenge and asked ourselves how to do more with less. During our process working with Kyle Abraham for Heartbreaks and Homies he labored over creating something special for that space and with very little money (a $3,000 stipend and DanceNow paying for the production costs). I realized that this was where we should be focusing

Heartbreaks & Homies by Steven Schreiber

our energies and once I ran the numbers versus the cost of staying with what we were doing, I realized we can offer artists more to be at Joe’s. This year, for a 5-minute segment artists will get $300 this year and if an artist has more ideas they could do up to three works. I don’t mean to only talk about the shift in numbers terms. It was a perfect storm in many ways with DTW’s shift to New York Live Arts, we had to figure out if we fit within that new identity. It wasn’t easy to move on from DTW and the opportunity we gave many artists to dance on that stage (that they wouldn’t have otherwise). But, I learned about the renovations during Heartbreaks. They showed me the pictures and it’s going to be so elegant at Joe’s. No more standing room, which was a problem for dance when it gets above 150 with people standing at the bar. Now, it will be able to seat 180 people. The dressing rooms will be great and they’re going to work to give us more rehearsal space for the Featured Artists. We’ll have some access to the Public’s rehearsal spaces. We did it in green room for Fraulein and The Whiz, but now there will be renovations to the space and they’ll be able to work in a proper studio. And, Joe’s has been very generous with letting the featured artists get as much time as possible in the Pub. So, we planned to try and do The Festival in synch with their renovations. They’re going to roll us out with them as DanceNow Joe’s Pub. Our plan will be to go back to the September dates once the renovation has been rolled out.

Nicole Wolcott in Fraulein Maria Photo by Steven Schreiber

Since the beginning, DanceNow (NYC) has thought outside the box and brought new audiences to dance in your own way. You’ve been very successful with your Doug Elkins’ Fraulein Maria, Kyle’s Hearbreak & Homies, David Parker’s Showdown and Nick Leichter’s The Whiz. You’ll have David & The Bang Group back for their newest show Misters & Sisters in June and this week you have Nicole Wolcott and Vanessa Walter’s Alley of the Dolls (This is Not a Sequel) on Thursday and Friday. They’re something like Dancemopolitan staples, aren’t they? Back in 2006, Nicole Wolcott and Nicole Berger did a show Thrash N’ Rock and we always wanted to bring it back and develop it. Nicole has been an artist that I’ve wanted to promote and help for a long time. She’s so talented and I’ve been watching her since she started making work while dancing with Larry Keigwin. And, David… Well, he is so suited to the stage to the cabaret format. Also, in thinking about the shift for the Festival, I wanted to be sure the Pub would embrace us. They pretty much let us do our thing. Back in the Thrash N’ Rock days we were doing Dancemopolitan almost every month and it got to be too much. Then we cut it down to about 3-4 a year.

So you’re strengthening your partnerships. You’ve got other partnerships in the works outside of NYC. This is so valuable for your artists. You’re able to offer more than just one-off shows now. What else do you have in going on? While we’re trying to up the partnership with Joe’s I’m also now curating the tiny dance program at Steelstacks

Showdown Photo by Steven Schreiber

in Pennsylvania and it’s the same thing. It’s a music venue with some dance. That will be DanceNow SteelStacks. With a connection between Joe’s and Steelstacks, we’ll be able to take some things that premiere at Joe’s and take it out to PA and other times I’d like to try things out at Steelstacks and bring it here. Once Joe’s was on board for the switch for our Festival, the next thing was whether our funders would embrace this shift. Most of our money comes in for the Festival and later for the Dancemopolotan Series. NYSCA, Mertz, Jerome – they all said this was fantastic and would be great for our organization. We will continue accommodating an equal sized audience and eventually it could serve more, if it flies and we will be able to present more artists and give each artist more. We have all been begging for another Fraulein or something that could run, as a holiday series, for a couple weeks. In addition to fee, Featured Artists get a residency at Silo (at Kirkland Farm in Pennsylvania) for a couple weeks, and some are on the guest teaching roster at DeSales University and they might get a commission from DeSales to set work on the students. So, we’re shifting into increasing opportunities for artists in multiple venues. We’re thinking about developing new avenues for teaching and developing and maintaining long-term relationships with artists.

You’ve been able to foster new voices and to support some of these long-term relationships. How does this shift enable you to do that better? So, the festival as it was at DTW was always a testing ground for what we might want to put up or grow at Joe’s. It also simply let us see what everybody was up to. So the Aha! moment came when I realized that if we’re looking for work to bring TO Joe’s why didn’t we look at it AT Joe’s. For instance, I’m looking at an artist’s work that she’s done it out of the city in another cabaret space. I have the DVD, but I’d rather see it on the Pub stage. We’re also talking to Monica Bill Barnes about her SnowGlobe piece. She had all this stuff on the cutting board that she wanted to put up at Joe’s so she’ll probably be doing some of that during the festival in the fall she’ll show another segment. So the structure of the festival, because it’s Joe’s and we only get 55 minutes a show, is that we narrowed the time limit down to 5 minutes a work. We need to make sure we can get 10 artists in there and artists are always not working within the time limits. We believe in this editing process. Pieces get so wordy and sometimes work goes on and on and it kills the piece. Less is more is a challenge for someone; to make it say something in short time. We’re keeping the DanceNow Challenge again. We want it to be suitable to the space and the winner will get the $1,000 fee and a Silo residency and Gina Gibney will provide another 20 hours of rehearsal space. Like Ellis Wood, last year’s challenge winner, she’s been working on that for a couple years and she’s been developing it out here into a full-length work.

The Whiz Photo by Steven Schreiber

And, you’re making some changes to your RAW program, which provides newer artists with their first entry into DanceNow. Yes, we did do the Raw events and we’re shifting that to be more of a mentoring project. This is a response to a difficult situation when you’re seeing work that year after year isn’t ready for the stage and the artists continue to come back year after year. How could we help them? We brought several mentor artists, including Hilary Easton in to work with them to develop their work. It was great to sit with them and listen to them and ask them questions. Most of them asked how do I create a network and get more than a couple people they know and love to see their work. So we took a handful of artists from Raw and asked them to send proposals for Joe’s this year, so that we can continue funneling new faces and familiar ones and see work that we’re considering to develop.

There’s one more thing I wanted to say. My Aha! moment after Kyle’s show was pretty similar to the Aha! moment I had when joking around with Doug about doing a modern dance version of The Sound of Music. Sometimes, it’s the whim of an idea – this is crazy fun and maybe we could do this – that proves very fruitful.

Popularity: 3% [?]

Ivo Dimchev will be performing this Friday at Dixon Place as part of the Performance Mix Festival. He is on a multi-artist bill called “Balkan Express” which includes work from Ursula Eagly/Iskra Sukarova (NYC/ Macedonia) and Viktorija Ilioska (Macedonia).

If you saw Dimchev’s “Lili Handel” at LaMama as part of the Perforations Festival you know that he is an amazing performer not to be missed.

Popularity: 26% [?]

Just got home from the PS122 Gala – another fabulous, star-encrusted evening of downtown and glamour and fun. I conscripted Jeremy to cover the after- and after-after parties. Let’s hope he has some juicy details to report.

As for me, I played it responsible – I got there for the beginning and the main show and only stayed for a little while at the reception- long enough to see the newest Ethyl Eichelberger Award winner receive her prize – Peggy Shaw. It is hard to believe that it was six (or so) years ago when I was sitting in a loft at PS122 with Lucy Sexton and came up with the idea for the award. We were sitting with Anne Dennin – then the E.D. of PS122 – working on planning the 2005 gala. Lucy wanted to theme the entire gala after Ethyl and I thought maybe it would be better to start an award that would link the new generation with the previous generations, something that wouldn’t just end with a benefit but be an ongoing legacy. Also, a way to ensure that PS122 retained a commitment to queer performance. We all agreed and thus the Ethyl Eichelberger award was formed. Over the years the artists who have received the award have varied from early career to established, but one way or another it has enabled them to pursue projects and creative impulses that maybe they would not have been able to pursue otherwise. So it was very touching to see John Kelly, Jennifer Miller and Mx. Justin Vivian Bond onstage as they gave the award to Peggy. I’m sure Peggy will make a great new show and continue the new(ish) legacy of this great award.

In other news – the gala was superfun. I got there early and hobnobbed with friends old and new. After an hour or so of cocktails and snacks and catching up with folks it was time to head in for the show which honored Danny Hoch, Carmelita Tropicana and Justin Vivian Bond. It was also PS122′s 30th anniversary gala which resulted in a special “founder’s award” that was given to Tim Miller, Peter Rose, Charles Dennis and Charlie Moulton (in absentia).

John Kelly and Lisa Kron were hosts in the most fabulous tradition and introduced some wonderful performances from Nilaja Sun, Rufus Wainright, Lois Weaver, Peggy Shaw, Mo Angelos and more. One of my favorite performances of the evening was the first one – a restaging of an excerpt of Ann Carlson’s piece with four (real) lawyers dancing. It was called “Sloss, Kerr, Rosenberg & Moore” and was originally staged in 1986. It totally captures the mix of high/low art, of fun and seriousness that PS122 embodies at its best. Just a really wonderful piece and a great way to start the show.

Those kids at PS122 know how to throw a party – and it is always a pleasure to see so many legends of downtown performance in one room. It is a good way to remember that PS122 was founded at a time when performance art and dance was taking itself very seriously and it was part of its mission to really invigorate things, shake things up and give the hidebound mainstream a kick in the pants. Now PS122 is the big dog – and it is definitely a challenge to balance being irreverent and avant-garde with playing with the other big dogs. But all things told they do a great job and we’re better for it.

Here’s to thirty more years!!!

Popularity: 32% [?]

Black Watch, the National Theatre of Scotland’s much praised production about a fighting regiment, is back at St. Ann’s Warehouse through May 8. The show has collected accolades, glowing reviews, and a slew of awards from around the globe since it premiered in 2006, so I’ll be brief. Five reasons to get a ticket:

1>  It accomplishes what many plays and films about war—and the Iraq debacle in particular—have attempted. It’s very much about ten specific men and their experiences, but it transcends the individual to make points on the policy level too. It captures the paradoxical combination of excitement and boredom of serving in the army, the gulf that exists between returning soldiers and civilians, the questions, uncertainties, and conflicts that enlisted men go through.

2>  You could take a vet or gun-toting, red-flag waving Republican to see it, and chances are they’d be utterly engrossed. The material—based on interviews writer Gregory Burke held with returning troops—doesn’t preach to a liberal, anti-war audience.

3>  You never think that the actors are just actors, playing a part. The show, like a real theater of war, runs on intense physical and mental concentration. (sidenote: many of the current cast have relatives that have served in the Black Watch, which has to resonate).

4>  Magically, the combination of music, movement, and narrative adds up to more than its individual elements. This is what theater is supposed to be, but doesn’t always hit the mark.

5>  If you missed Black Watch in 2007 or 2008, you’ve got another chance (and maybe this is the last one).

Popularity: 2% [?]

Several years ago John Kelly was working on a new piece based on Caravaggio. Using Caravaggio’s life story as a starting place, Kelly created a piece about a contemporary artist who struggles with the same demons. As the final image of the new work, Kelly wanted to be hanging from a trapeze in an artful posture and he started rehearsing his acrobatic skills. One day in the studio, working on the trapeze, he was trying a rather advanced move and lost his grip, plunging to the ground and nearly breaking his neck. For 15 hours Kelly lay immobile in the emergency room, trapped in his body, in his mind, and adrift in his own thoughts.

In The Escape Artist, Kelly uses video, song and story to recreate his thought process during those 15 hours. The show begins with Kelly entering the stage and telling us the story of the trapeze accident – he then climbs onto a “bed” and spends the bulk of the rest of the performance laying down, singing and narrating, as video projections tell a visual story of his interior experience. The visuals represent the images that flood his mind–the sinners and saints, the prostitutes and gods–that populate Caravaggio’s paintings.

The journey through Kelly’s thoughts on life, love and artistry is told through spoken text and 10 songs by Kelly with Carol Lipnik as well as two “covers” – he performs to pre-recorded music accompaniment until the final song when he arises from the bed and accompanies himself on electric guitar.

I found the show to be mesmerizing. It is simple in its construction – essentially a song cycle – and hypnotic in its delivery. Kelly’s voice is beautiful and clear, the video work is expert and effective. I wish I had some MP3s of the music to share with you – it is hard to describe. But Kelly’s years interpreting the work of Joni Mitchell are in evidence here. Her influence on his vocal style and song structures is clear. Kelly has a way of painting pictures with words and music that is vivid and transporting. Even when he is interpreting other people’s music it becomes very much his own.

The thought of being trapped in one’s body, alone with your thoughts, is scary. But Kelly’s vivid imagination, the poignancy of his insights and reflections, bring us into a world that is rich and rewarding. If your’e going to spend some time in someone else’s mind you could do much worse than the beautiful universe that is John Kelly’s imagination. Go see for yourself.

The Escape Artist continues at PS122 through April 30.

Popularity: 37% [?]