This November, Stephen Petronio Company will be performing THE ARCHITECTURE OF LOSS (2012) and excerpts from UNDERLAND (NY premiere 2011) in Irvine, CA, and Dallas, TX. The performance in Irvine will take place on November 14 at 8pm at the Irvine Barclay Theatre. TITAS presents our Dallas debut on November 16 at 8pm at the AT&T Performing Arts Center, Winspear Opera House.
Stephen Petronio Company recently performed a one-night-only showing of LLD 6/25, the first edition of Stephen Petronio’s new work, Like Lazarus Did on Monday, June 25, 2012. Inspired by the mythology of resurrection, models of transformation and rebirth, and how one entity falls off to give way to the next, this work is conceived and directed by Stephen Petronio, with an original score by composer Ryan Lott (Son Lux).
Like Lazarus Did is created as an ongoing and shifting performance that will take place in various “editions” in spaces throughout New York City over the course of the year. These events will manifest in unique forms tailored to the specific spaces hosting the event as it intersects with the current concerns of that particular edition of the project.
LLD 6/25 was focused on weight ascending through the body and space, along with past Petronio dances as resurrected by the company’s current male dancers. In a shift away from his meticulously choreographed presentations, Petronio employed improvisational models in this performance, creating space for more free-form interpretation of the subject matter. LLD 6/25 was performed by Joshua Green, Gino Grenek, Barrington Hinds, Nicholas Sciscione, and Joshua Tuason.
The Company’s most recent NY Season at The Joyce Theater, March 6 – 11, featured the World Premiere of THE ARCHITECTURE OF LOSS, Stephen Petronio performing Steve Paxton’s INTRAVENOUS LECTURE, Guest Artist Wendy Whelan performing the solo ETHERSKETCH I, and a revival of the acclaimed 2002 CITY OF TWIST.
The Architecture of Loss is “disturbingly beautiful…” In ETHERSKETCH I, Wendy Whelan “aces [Petronio’s] sweeping leg gestures and yanked-off-center stances and sinuous flow…”
– Deborah Jowitt, Arts Journal