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      How Music Loops Help Me Feel More Present

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      Loops open a dimension where, although time is ticking forward at its usual pace, I’m moving at my own speed, appreciating my body and the world around me.There once was a basement club in Minneapolis called Honey. I would go solo, taking the bus across the river and, descending the basement stairs, hear the music get louder with each step. I was mostly there on weeknights, when the club hosted touring D.J.s who were in between gigs in larger cities. I was nervous to go up to anyone, so instead I made myself comfortable by a column in the middle of the room. Being alone didn’t matter much once I closed my eyes. I would dance softly as techno or house tracks blared through the room. The music, much of it composed of looping, recurrent elements, went on for hours. Eventually, I opened my eyes and figured it was time to go home.Music made from loops — fragments of sound repeated over and over — has given me the freedom to explore who I am: a lanky Chilean who sweats too easily and thinks life shouldn’t be so serious. Though I often feel physically awkward at work or in social interactions — again, too sweaty and easily intimidated — on the dance floor everything moves as one. Loops open a dimension where, although time is ticking forward at its usual pace, I’m moving at my own speed, appreciating my body and the world around me. Brian Eno and Peter Schmidt, creators of the Oblique Strategies advice cards, put it simply: “Repetition is a form of change.”Growing up in the 2000s meant loops were omnipresent. Artists like Kanye West and Daft Punk created masterpieces by looping samples of older songs and even their own recordings. Take the latter’s seminal 2000 hit “One More Time.” The track still sounds alive to me more than 20 years later, its grainy synth sample, elastic bass line and titular refrain repeating throughout its run time. The looping creates an illusion that the record doesn’t have a beginning or an end, just the moment you happen upon it and the moment you exit the room. It’s inside this space where I discover my physicality and emotions — all it takes is some time.In miniature, loops help us become comfortable with endings, appreciative of the journey traveled.Not everyone is as patient. When I was young, my mom teased me about the repetitive music coming from my bedroom. “Que bonita,” she heckled. Other times she would beg me to change the song, irritated that, according to her, it was headed nowhere. The loops didn’t change, of course, but I would focus on everything else that did. I became more keenly attuned to my physical environment. I noticed new rhythms: conversations would start and end, people came and went, traffic picked up and died down. Becoming aware of these intricacies in everyday life is the closest I feel to being in the present, instead of picking over the past or constantly preparing for the future.In a conversation for his podcast, “Hanging Out With Audiophiles,” the musician Jamie Lidell compared the act of capturing a musical loop to catching the perfect wave. “When you have that loop and it gives you access, in a way, to something kind of sublime,” Lidell tells Four Tet, a fellow British musician, “you’re in the presence of something that to you, kind of does connect you to … maybe … some … unexplainable energy.” As you can probably gather by now, it’s hard to talk about loops without sounding like a shaman or a stoner. I reckon Lidell is neither and is getting at what makes loop-based music so transcendent. Loops condense all parts of the listening experience — sound, space, time and emotion — into one concise package.Few have captured the fleeting intensity of loops better than J Dilla, the Detroit producer whose raw, elliptical instrumentals paved a path forward for hip-hop. In his 2006 song “One Eleven,” he swirls a Smokey Robinson sample round and round, blending weeping strings and vocals together to create something entirely new. “Lord have mercy,” Robinson begs, before the strings take over again. The pain in his pitched-up voice brings me close to tears. Why is he pleading for mercy? For whom is he crying? There are no answers, only a drifting call for help. I can understand why Dilla kept many of his creations under two minutes. At some point, it’s time to let go, to literally and figuratively change your tune. If not, you can get stuck.No matter how many times a loop repeats, the song to which it belongs eventually stops, modeling a way to move on. In miniature, loops help us become comfortable with endings, appreciative of the journey traveled. This can be its own kind of buzz, too. It’s the D.J. fading out the last song of the night, the lights coming on in a movie theater, your partner tapping you on the knee and saying it’s time to go home. What happens after is anyone’s guess. At least you can feel proud knowing you went to the party.Honey closed its doors for good at the beginning of the pandemic. It was one of several endings that would follow. I quit my job, left Minneapolis, said goodbye to my parents as they moved out of the country, saw millions abruptly lose their loved ones. I miss dancing with my eyes closed inside that basement, guided by the music as it looped over and over. But I’m still here. Even now, I listen to loops to find a bit of bliss. Then I open my eyes, and the moment’s over.Miguel Otárola is a music writer and audio journalist based in Denver. Born in Chile and raised in Tucson, Ariz., he now covers climate and environment issues in Colorado. More

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      New York City Center Taps Veteran Arts Administrator as Its Next Leader

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      Michael S. Rosenberg, the managing director of the McCarter Theater Center, will succeed Arlene Shuler as the City Center president and chief executive.New York City Center, a nonprofit known for its starry short-run musical revivals as well as its contemporary dance programming, is naming a New Jersey arts administrator as its new leader.The City Center board has selected Michael S. Rosenberg, currently the managing director of the McCarter Theater Center in Princeton, N.J., as its next president and chief executive. Rosenberg will start Nov. 1, succeeding Arlene Shuler, who is stepping down after 19 years at the organization.“City Center is a singular performing arts center, not just in New York, but in the U.S., with its combination of dance and musical theater,” Rosenberg said in an interview. “It’s can’t-miss artists and performances, time and time again.”Rosenberg said he had seen multiple programs at City Center over the years, and that he considered a 1988 show he saw there, Bill Irwin’s “Largely New York,” as having significantly influenced his thinking about theater.City Center, which was founded in 1943 by Mayor Fiorello La Guardia and operates in a city-owned neo-Moorish theater in Midtown, is a sizable organization: Its current annual budget is $29 million, and it employs 157 people (some of them part-time).The chairman of the City Center board, Richard E. Witten, said the organization was in strong financial shape and had multiple applicants from which to select Shuler’s successor. “We saw a lot of people in the process, and Michael stood out repeatedly,” Witten said.Rosenberg, 54, has been at the McCarter since 2018. He previously spent nearly a decade as the managing director of the La Jolla Playhouse, a San Diego theater with an outsize history of developing Broadway-bound musicals.City Center is best known for two annual programs: Encores!, which is a series of minimally staged, concert-style productions of older Broadway musicals, many of which have been forgotten or abandoned because — for one reason or another — they have been considered unrevivable, and Fall for Dance, an affordably priced festival of international dance companies.Encores! is in the early stages of its own transition — Lear deBessonet took over the program during the pandemic, and her first season of in-person programming was bumpy: The initial two shows, “The Tap Dance Kid” and “The Life,” were not particularly well-received, prompting hand-wringing about whether Encores! was in trouble. But then deBessonet directed a rapturously received revival of “Into the Woods” that quickly transferred to Broadway, where it has been both popular and successful. The program also has a new music director, Mary-Mitchell Campbell, and a producing creative director, Clint Ramos, who is working with deBessonet.Both Rosenberg and Witten said they were fully supportive of the Encores! program. “Not every show was a critical hit, but it was a successful year in terms of what was planned and what Lear hoped to do, and it wound up with a bang,” Witten said. “We’re very excited about the upcoming year.”Before the pandemic, City Center also ran an Encores! offshoot — Encores! Off Center — that revisited Off Broadway musicals; that program has not yet returned, and Rosenberg said its future had not been decided, but that “it’s another interesting way of opening up the canon and having more projects from which to choose.”City Center has already outlined plans for a 2022-23 season that is more robust than the one that just ended, which was slimmer than usual because of the ongoing coronavirus pandemic. The next season will include a wide array of dance, including the first Fall for Dance Festival featuring international companies since 2019, as well as work from Twyla Tharp, Alvin Ailey, the National Ballet of Canada, Dance Theater of Harlem, Ballet Hispánico and many more.The theater programming will include a fund-raising run of the musical “Parade,” starring Ben Platt and Micaela Diamond. And then, next spring, Encores! will feature revivals of “Light in the Piazza,” “Dear World” and “Oliver!” More

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      Raises and Safety Protections in City Ballet Dancers’ New Contract

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      The dancers will receive a wage increase of 6.7 percent this season. The company also agreed to hire an intimacy director and to work to eliminate stereotypes in ballet.When the pandemic hit in 2020, battering cultural institutions and forcing New York City Ballet to cancel performances for 18 months, the company reduced the salaries of dancers and other artists by 4 percent as it worked to weather the crisis.The dancers have in recent months sought to offset those losses, pushing for raises as they negotiated a new labor contract. This week, they won a victory: City Ballet said that as a part of a three-year labor agreement, it would raise salaries for dancers and restore some benefits that were halted during the pandemic, including vacation pay and contributions to retirement accounts.Sam Wheeler, the national executive director of American Guild of Musical Artists, the union representing dancers, stage managers and other workers at City Ballet, said in a statement that the contract was “a great example of what can be achieved when management and unions work together.”Like many cultural groups, City Ballet is working to restore cuts made during the pandemic with the hope that the worst of the crisis is over. In recent months, as the financial outlook for arts institutions has grown somewhat brighter, some groups, including the New York Philharmonic, have reversed pandemic-era pay cuts. But arts leaders acknowledge that many uncertainties remain, including whether audiences will return to concert halls as frequently as they did before the pandemic.Under the agreement, which was ratified by the union on Tuesday, the dancers will receive a wage increase of 6.7 percent this season, tied to the rate of inflation in New York City. In 2023 and 2024, they will receive additional increases.City Ballet, in a statement, said the contract “both provides economic benefits, and continues our important work on creating a respectful and safe workplace for all employees.”The contract includes several measures aimed at building a safer and more inclusive culture at City Ballet, especially for women and dancers of color.The company will hire an intimacy director on a pilot basis to care for the physical and emotional well-being of performers, and to help ensure that consent is given when dancers are called upon to touch each other in intimate ways.Under the agreement, City Ballet will formally adopt a policy allowing dancers to use tights and shoes that better match each dancer’s skin tone, rather than standard pink attire, a practice that the company has been experimenting with since last year. The company also pledged to work to eliminate racial and ethnic stereotypes in ballet.The pandemic shutdown disrupted the careers of many of City Ballet’s rising stars and resulted in the loss of $55 million in anticipated ticket sales. Just as live performance was getting off the ground last year, the Omicron variant emerged, forcing the company to cancel 26 shows in December and January, including performances of “The Nutcracker,” typically its most lucrative show of the year.Attendance last season was still below prepandemic levels, hovering around 80 percent. But the company hopes that its new season will bring audiences back in force. The company’s first performance will take place on Sept. 20 with a program of dances by George Balanchine. More

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      Venice: Noah Baumbach Finds the Music in ‘White Noise’

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      An end-credits dance scene, set to a new LCD Soundsystem song, is the talk of the fest. The director explains how it came together and what it means for “Barbie.”VENICE — Noah Baumbach is not a fan of Netflix’s “skip credits” feature. When he directed “Marriage Story” and “The Meyerowitz Stories,” Baumbach implored the streaming service not to speed viewers past the closing credits and into the next piece of content before the film has technically concluded. Still, the 52-year-old director realizes that on this front, he might be an old-school outlier.“When I’m watching a movie with my 12-year-old and it finishes, I like to decompress and watch the credits, always,” Baumbach told me Thursday at the Venice Film Festival. “And he’s like, ‘OK, what’s next?’ For him, it’s just words on a screen, but I’m like, ‘Let’s just vibe out on the fonts.’”To ensure the survival of closing credits, filmmakers now have to make something truly unskippable, and it’s here that Baumbach has delivered in spades: At the end of his new film, the Venice opener “White Noise,” he delivers a full-blown musical number starring the entire cast and set to the first new LCD Soundsystem song in five years. It’s a deliriously fun sequence that has dominated chatter in the first 24 hours of the festival and is doubly surprising because, like the movie itself, it finds Baumbach working at a scale he’s never before tried.In “White Noise,” adapted from the 1985 novel by Don DeLillo, Adam Driver and Greta Gerwig play married parents Jack and Babette Gladney: He’s a paunchy professor who blathers about his “advanced Nazism” course, she’s a pill-popper with a mighty ’80s perm. (“She has important hair,” coos Don Cheadle as one of Jack’s colleagues.) The couple’s pillow talk involves morbid debate over which of them will die first, but when a toxic spill forces their neighborhood to evacuate, our leads must confront their obsession with death in a way that hits much closer to home.The only thing that ever seems to soothe these neurotics is the local supermarket, a gleaming, jumbo-sized temple of consumerism where everything is always in the right place. With its abundance, bright-white lights and collection of familiar, beaming faces, a trip to the supermarket in “White Noise” isn’t just like going to heaven — it’s better.Driver in a scene from the film, which opened the Venice festival. Wilson Webb/NetflixThat makes it the perfect place to set the end-credits number. Don’t worry, the sequence isn’t a spoiler — it’s more of a coda, and “a visual, visceral, physical representation of what I felt like the whole movie was about,” Baumbach told me.Here, nearly every character in the movie cavorts among aisles of Hi-C, Doritos and Ritz Crackers while Driver and Gerwig pull boxes from the shelves with Busby Berkeley-level precision. Later, workers in the checkout area throw plastic bags into the air as if they were feathered fans, and a coterie of college professors — played by the likes of Cheadle, Jodie Turner-Smith, and André Benjamin — boogie in a charmingly fussy fashion.The sequence made me think of the dance-heavy curtain calls from “The Adventures of Buckaroo Banzai” and “Mamma Mia: Here We Go Again,” though Baumbach, a more refined cineaste, was motivated by “8 ½” and “Beau Travail,” he told me.“As I arrived at the end of the script, it revealed itself to me as the thing to do,” said Baumbach, who likened it to smaller cinematic flourishes that close his previous films: “‘Frances Ha’ has no unmotivated camera until the very end, and then there’s a push in on her face — it’s very simple. ‘Meyerowitz Stories’ is all piano music and then an orchestra comes in at the end. I like trying to listen for those things.”He went to LCD Soundsystem frontman James Murphy, who also contributed to Baumbach’s “Greenberg” and “While We’re Young,” to craft “New Body Rhumba,” an upbeat, catchy song about death for the sequence. “I said, essentially, write the song you would have written if you were writing songs in 1985,” Baumbach said.“For me, that’s not a hard nudge,” Murphy said at the film’s premiere party. If writing ’80s-inflected songs is well in his wheelhouse, what was the greatest challenge, I asked? “Trying not to die before the song was done,” Murphy replied mordantly. (Jack and Babette could scarcely have phrased it better.)The dance sequence, choreographed by David Neumann, was shot over two days at an abandoned Ohio superstore. “It actually was as happy shooting it as it is to watch it,” Baumbach said. “It was this contagious feeling. It just felt good. And though Baumbach has flirted with making a movie musical before — he and Driver once explored the idea of adapting Stephen Sondheim’s “Company,” eventually using that show’s “Being Alive” as the climactic sung number in “Marriage Story” — making “White Noise” hasn’t fully scratched that itch.“It makes me interested in doing more of that,” said Baumbach, who also used Neumann to choreograph the movie’s chaotic family breakfasts and massive crowd scenes. “I think this whole movie opened up things for me, aspects of moviemaking that I’ve always been drawn to that the movies I’ve made haven’t needed or wanted.”And it may offer a tantalizing throughline to Baumbach’s next project: “Barbie,” a big-screen take on the iconic Mattel doll that Gerwig is directing from a script she co-wrote with Baumbach. Little is known about the plot of the movie, which stars Margot Robbie and Ryan Gosling, though co-star Simu Liu has divulged that it will feature dance sequences, and Baumbach appeared to confirm that.“‘Barbie’ definitely has that as well, that kind of choreographed naturalism. Well, it’s an artificial world, but a choreographed naturalism,” Baumbach told me.“It’s always exciting to me,” he said, “when a movie can be many things at the same time.” More

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      Robert LuPone, Actor Who Became a Behind-the-Scenes Force, Dies at 76

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      After playing a critical Broadway role in “A Chorus Line,” he helped start the vibrant Off Broadway MCC Theater. TV watchers knew him from “The Sopranos” and “Law and Order.”Robert LuPone, an actor and dancer who originated the role of the driven director-choreographer in the musical “A Chorus Line” on Broadway and later helped run a vibrant Off Broadway theater company known for thought-provoking new works, died on Saturday in Albany, N.Y. He was 76.His wife, Virginia (Robinson) LuPone, confirmed the death, at a hospice near his home in Athens, N.Y. She said the cause was pancreatic cancer.Mr. LuPone was familiar to television audiences from his roles on “The Sopranos” and the “Law & Order” franchise. But his first love, like that of his sister, Patti LuPone, was the theater.By 1975, when Mr. LuPone auditioned for “A Chorus Line,” he had been dancing since childhood and had been in a few Broadway shows. Initially cast as Al, one of the dancers vying for a spot in the chorus line of a Broadway musical, Mr. LuPone persuaded Michael Bennett, who conceived and directed the show, that he could play the director, Zach, after Barry Bostwick, who had been cast in the part, left the show during the workshop phase.“Michael has trouble directing actors,” Mr. LuPone said in an interview on the website of the Muny, the musical theater in St. Louis, when it staged “A Chorus Line” in 2017. “No, let me put it this way: Michael has trouble directing egos. He has a tremendous ego. And I have a tremendous ego. Barry Bostwick obviously has a bigger ego than I do.”At the Public Theater, and then on Broadway, “A Chorus Line” was an enormous hit. When it opened at the Shubert Theater — where it would run for 15 years — Walter Kerr wrote in The New York Times that as Zach, Mr. LuPone “retires to a godlike perch at the rear of the auditorium and wheedles out of the brassy and the giggly, the pleading and the nonchalant, snippets of their pasts.”The show was nominated for 12 Tony Awards — Mr. LuPone received a nomination for best featured actor in a musical — and won nine, including best musical. That year, his sister was nominated for best featured actress in a musical, for “The Robber Bridegroom.”“A Chorus Line” proved pivotal for Mr. LuPone: His future was no longer in dancing.Ms. LuPone said that her brother had been an “extraordinary dancer,” and that his decision to give up dancing “haunts me.” In an email, she wrote, “I think he couldn’t take the dictatorial environment that choreographers at that time created.”Mr. LuPone said that dancing in musicals had become a “hollow experience.” In an oral history interview in 2018 with Primary Stages, an Off Broadway theater company, he said, “I wasn’t really able to speak, and the ideas were, for me, superficial.”That realization led him to study at the Actors Studio and perform with the Circle Repertory Company. He began teaching acting at New York University in 1981 and showed a very direct demeanor that his students at first found surprising.“Who was this guy from musical theater talking to us actors?” Bernie Telsey, one of those students, said in a phone interview. “He’d never taught before. But it became the best class ever.” Some students continued to study with him after they graduated.In 1986 Mr. LuPone and Mr. Telsey formed the Manhattan Class Company, which later became MCC Theater. Will Cantler soon joined them as associate artistic director and was named an artistic director in 2011.Over nearly 40 years, the company has sought to produce challenging, original plays and musicals, with a view to what Mr. LuPone called a “third act” — affecting audience members enough to keep them talking about the shows after they returned home.Three MCC productions transferred to Broadway and received Tony nominations for best play: “Frozen,” the story of the aftermath of a 10-year-old girl’s murder, which opened in 2004; “Reasons to Be Pretty” (2008), about people’s obsession with beauty; and “Hand to God” (2014), a dark comedy about a teenager and his profane, possibly demonic sock puppet. An Off Broadway MCC production of “Wit,” Margaret Edson’s play about a woman’s reflections on dying after she learns that she has ovarian cancer — which won the Pulitzer Prize for drama and the Drama Desk Award for outstanding play in 1999 — also moved to Broadway.Mr. LuPone in the 1998 Broadway production of Arthur Miller’s “A View From the Bridge.” He was also a familiar face on “The Sopranos” and “Law and Order.” Sara Krulwich/The New York TimesRobert Francis LuPone was born on July 29, 1946, in Brooklyn and grew up in Northport, N.Y., on Long Island. His father, Orlando Joseph LuPone, was an elementary school principal in Northport. His mother, Angela (Patti) LuPone, a homemaker, encouraged Robert and Patti’s show business ambitions, driving them to classes. Robert and Patti danced together as children, winning third prize at a Jones Beach talent contest.“I still have the trophy,” Ms. LuPone said. “It was a tango.”Robert took tap lessons after school before enrolling in the Martha Graham School, where as a teenager he studied modern dance with Graham, José Limón and Antony Tudor. He attended Adelphi University, on Long Island, but, spurred by meeting a dancer better than he was who had gone to the Juilliard School, he transferred there. He majored in ballet and minored in modern dance and graduated in 1968 with a Bachelor of Fine Arts Degree.By then he had been in the ensemble of a 1966 production of “The Pajama Game” at the Westbury Music Fair (now the NYCB Theater at Westbury) on Long Island. He made his Broadway debut as a dancer in 1968, in “Noël Coward’s Sweet Potato,” and danced in three more Broadway shows before his agent sent him to audition for “A Chorus Line.”Mr. LuPone worked steadily as an actor in theater, in movies and on television. He played the Apostle Paul in the film version of “Jesus Christ Superstar” (1973); was in six daytime soap operas (earning a Daytime Emmy Award nomination for his role on “All My Children”);was seen on series like “Gossip Girl,” “Ally McBeal” and “Billions”; and, between 1997 and 2001, was in Broadway productions of Arthur Miller’s “A View From the Bridge,” Sam Shepard’s “True West” and Herb Gardener’s “A Thousand Clowns.”In six episodes of “The Sopranos,” he played Bruce Cusamano, Tony Soprano’s neighbor and physician, who recommends that Tony see a psychiatrist.In addition to his wife and sister, Mr. LuPone is survived by his son, Orlando, and his twin brother, William.Mr. LuPone’s acting career was secondary to his work at MCC, where he not only developed, oversaw and produced four or five shows a year but also raised money for the theater’s permanent home, the Robert W. Wilson MCC Theater Space, on West 52nd Street in Manhattan, which opened in 2019.“Bob was fearless,” Mr. Telsey said, adding that playwrights often found it hard to accept the candid notes that Mr. LuPone would write them during previews. “They’d be so stressed, but three days later realized that Bobby was right. He pulled no punches.” More

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      Baryshnikov Arts Center Chooses Dance Veteran as Leader

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      Sonja Kostich, a cultural administrator and dancer, will lead the group as it works to expand its audience amid the pandemic.The pandemic brought a series of changes to the Baryshnikov Arts Center in Manhattan, forcing it to cancel two years of live performances and find new ways to connect with the public, including starting a streaming platform.Now, as it looks to its next chapter, the center announced Friday it had chosen a new executive director: Sonja Kostich, a veteran arts administrator and dancer. She succeeds Cora Cahan, a dynamic figure in arts administration who has held the job since in 2019.Kostich, who now serves as chief executive and artistic officer of Kaatsbaan, a cultural park in Tivoli, N.Y., said in an interview that she would focus on expanding audiences and attracting a wider variety of artists to the group’s residencies and other programs. She is expected to start in October.“It should be an art center for everyone,” Kostich, 50, said. “I would love to see it become a place that everybody wants to be a part of, whether or not you’re a die-hard dance fan or someone who works in a completely different field.”The center, with an annual operating budget of $3.5 million and more than a dozen staff members, was founded in 2005 by Mikhail Baryshnikov, the ballet star whose defection from the Soviet Union in 1974 stunned the dance world. He praised the choice of Kostich, saying she had the expertise to lead the center through the pandemic and beyond.“I am honored that she will bring her talents to B.A.C. and am confident that her creative vision, financial savvy and love of the arts is precisely what B.A.C. needs to head into the future,” he said in a statement.The center, which presents dance, music and other programming, resumed live performances only in March, later than many other performing arts groups, as it awaited a long-planned replacement of its heating, ventilation and cooling systems.In 2020, when the coronavirus forced cultural institutions to suspend live performance, the center began a commissioning program focused on digital works as a way of sustaining the organization and encouraging artists to continue creating during the pandemic.The fall season begins in October with a series of salon concerts. Among the performers are Owls, a string quartet, and the Westerlies, a brass quartet. More

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      This Season at La MaMa: Dance-Theater and a Puppet Rock Opera

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      The experimental theater company’s 2022-23 season will showcase a packed lineup under the theme “Remake a World.”For its 61st season, La MaMa Experimental Theater Club will present more than 40 productions from eight countries, including the in-person stage debut of a pandemic-era virtual play, several puppetry productions and a dance-theater-music work.“This artistic community is coming out of a time of huge limitation, of deep questioning,” said Mia Yoo, the artistic director of La MaMa. With “Remake a World” as its theme, she said, the season asks, “What are the paradigm shifts that will help us reimagine?”The 2022-23 offerings include the return of the acclaimed 2021 large-scale puppet production “Lunch With Sonia” (March 16-26), which Laura Collins-Hughes, a New York Times theater critic, called “achingly beautiful”; the U.S. premiere of “Radio 477!” (March 9-19), a Yara Arts Group production inspired by songs by the Ukrainian composer Yuliy Meitus and adapted from the 1979 revue “Hello, This is Radio 477!”; and “Last Gasp: Recalibration” (Oct. 13-30), a version of a piece that the theater duo Split Britches created and recorded on Zoom and premiered digitally in 2020, which will have its live stage debut at the Ellen Stewart Theater.Also on the lineup after pandemic postponements is the world premiere of Elizabeth Swados’s musical “The Beautiful Lady” (dates to be announced). Directed by Anne Bogart, the poetry-heavy piece is set in an artists’ cafe during the Russian Revolution.Come winter, John Kelly will present a new dance-theater work, “Underneath the Skin” (Dec. 1-18), about the fantastical life of Samuel Steward, a gay novelist and tattoo artist, combining movement with Steward’s words, tattoo designs and illustrations.The Czechoslovak-American Marionette Theater will present “The Conference of the Birds” (Feb. 2-19), a rock opera about humans yearning to fly, as part of La MaMa’s February Puppet Slam.“Broken Theater” (April 20-30), by Bobbi Jene Smith — formerly a member of Batsheva Dance Company — considers a performer’s dissolving boundaries when an audience leaves.And the original home of La MaMa, at 74A East Fourth Street, where a multiyear $24 million renovation is underway, will open temporarily on Nov. 10 for a gala. Until the reopening, all La MaMa performances will be staged at 66 East Fourth Street, in the Ellen Stewart Theater and the Downstairs Theater.Attendees are no longer required to show proof of vaccination; masks, however, are required. For more information, visit lamama.org. More

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      Trisha Brown on the Beach: Catch a Wave of Dancing Bliss

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      The dancers were sinking. Even the softest of waves were too much for their feet — strong as they were — to hold their own in the soggy late afternoon sand at Rockaway Beach.“Leaning Duets II,” a work by the choreographer Trisha Brown from 1971, is a classic partnering experiment in balancing while being counterbalanced. In pairs, the dancers faced each other bound by a paddle contraption — a piece of wood on each of their lower backs, looped together with a rope — as they planted their feet and leaned backward.The aim? To create opposing diagonal lines, sort of in the shape of a V. And then to keep moving.A beach, it turns out, poses certain challenges for such a task. There was a steady breeze. The surf was loud. And that sand! Before the dancers could even start to drift and swirl — the sort of delicate micro movements that help make this seemingly simple dance mesmerizing — their torsos began to buckle. Their diagonals curved forward like commas. They dipped to the side precariously.But that was why the members of the Trisha Brown Dance Company were at the beach — to learn, not so much about the dance, which they had performed before, but about the environment. This Saturday starting at 5:30 p.m., as part of the Beach Sessions series, the esteemed company takes over the shoreline from Beach 97th Street to Beach 110th Street with a program highlighting a selection of works chosen for the way they would interact with the beach.From left, Hsiao-Jou Tang, Jennifer Payán and Leah Ives of the Trisha Brown company rehearsing “Group Primary Accumulation.”Because of the start time, high tide is a factor. Carolyn Lucas, the Brown company’s associate artistic director, had placed the dancers on a strip of spongy sand by design. “They need to understand what it feels like to have the earth not necessarily supporting them,” she said, and then noticed a dancer getting the hang of it. “Oh! It’s great the way she’s spinning.”While the company has presented iterations of its “Trisha Brown: In Plain Site” series — versions of early, non-proscenium works — all over the world, it has never staged one on a beach. Beaches have been missing out.The instant the dancers, clad in cyan blue surf tops and shorts, began performing Brown’s choreography, the natural world popped, coming into sharper, more colorful focus. It was like a conversation you might have in a fever dream: The sea gulls twirled around the dancers, and the dancers, perched majestically on a jetty for “Figure 8” (1974), made arcing patterns with their arms as though they were airing out their wings.The program will conclude with a performance on a stage — erected on the sand — of three more dances: “Solo Olos” (1976), “Accumulation” (1971) and “Opal Loop” (1980). But for the first half, audience members will move with the dancers as they progress along the shore. Because of its setting, Beach Sessions is casual by nature. But it’s more than an excuse to sit in the sun. It’s become a poignant end-of-summer tradition in which the wild, enigmatic nature of experimental dance finds, at the beach, its missing twin.Ives and Patrick McGrath, rehearsing for Beach Sessions. Dances were chosen for how they would interact with the beach, and the dancers had to learn to balance on soggy sand. Below left, Payán.Beach Sessions was created in 2015 by the producer and Rockaway resident Sasha Okshteyn, who had a dream: to bring quality dance and performance to Rockaway Beach. But she also had another, more private dream. She wanted to plant a particular company on Rockaway sand — the Trisha Brown Dance Company.“Trisha’s site-specific work in the early ’70s was so revolutionary, and it was made on the streets of Manhattan,” Okshteyn said of Brown, who died in 2017. “I was really excited to think about how her pieces can respond to the natural elements of the beach.”The performances, which will include “Spanish Dance” (1973) and “Group Primary Accumulation” (1973), with the dancers lying on the sand, will be looser than usual, Lucas said. “They’re very playful works,” she said. “That’s something beautiful about the early works and Trisha’s sense of playfulness and sense of humor.”There was a certain wildness in her choreography, too — a slippery chaos bubbling beneath the highly refined surface — that fits with the natural world. It was Okshteyn’s idea to include “Opal Loop,” a luminous work that normally envelopes its four dancers in swirls of fog.“I wanted the program to include works that made sense right along the water’s edge,” Okshteyn said, “and then I also asked for ‘Opal Loop,’ because I was really interested in how Trisha was bringing the natural world onto the proscenium stage. I wanted to reverse that and bring that piece out into the natural world.”“Of course, we can’t have an artificial cloud,” she added, “but to have the natural clouds there — and perhaps it will be a misty day. That’s totally my fantasy, that it’s a foggy day and they’re dancing in the natural cloud.”Trisha Brown dancers in “Spanish Dance.”During a 1987 lecture-demonstration at Jacob’s Pillow, Lucas remembered a moment when Brown suddenly blurted out: “Opal Loop, Opal Loop, Opal Loop, Opal Loop” and spoke about the dance and, in a sense, her philosophy of dancing — her dancing. It’s unpredictability is, she said, “unlikely, ongoing. Phrases are minutes long, yards and yards of never stopping or even slowing down.”Brown referred to this period of her work as the Unstable Molecular Cycle (1980-1983), which is based in memorized improvisation and includes her postmodern masterpiece “Set and Reset.” In “Opal Loop,” Brown said: “There is a total immersion at the bat of an eye, from one physical state to another. It is tumultuous to perform, but if I guide the momentum just right there is an ease.”Lucas, who performed the work, remembers being conscious of how she could feel Brown, “that she would just be guiding something, and all this beauty would just whiz out of her and look so effortless,” she said. “But it was really not effortless”For Beach Sessions — as for all the company’s “In Plain Site” programming — the dances aren’t altered; it becomes an experiment in choreographing choreography. What is the best spot for a particular dance? How might the dancer get from one location to the next? For one transitional moment, Lucas has included “Scallops” (1973), in which the dancers stand side by side and run to a new position in order to keep up with the line.Trisha Brown’s “Figure 8” with Cecily Campbell, foreground, and from left, Patrick McGrath, Amanda Kmett’Pendry, Leah Ives, Jennifer Payán and Hsiao-Jou Tang.“Always, we try to hold the rigor of the idea intact, even though that environment might be challenging it,” Lucas said. “But part of the fun is to learn — you’re like, ‘Oh, look at that beautiful spot.’ And then you start to realize, well, five people can see that. I learned after about my fifth ‘In Plain Site’ to stop looking at beautiful places where nobody can fit. So it really becomes about a bigger picture.”For the dancers, working outside can be challenging. You can get distracted by a tree or a bug; and there’s always the weather to contend with. But, the dancer Patrick McGrath, said: “When you really find that sweet spot and you hear bird calls or frogs and you kind of learn how to use your feet differently in dirt, it informs the work in a way.”“And it’s funny,” he added. “You would think that she would have expected this almost with some of the pieces because they fit so naturally — sometimes a line just works so well outside with a tree.”That kind of serendipitous artistry is a source of surprise and delight at Beach Sessions. This season, with the Rockaway Film Festival, it is also presenting a screening of “Einstein on the Beach,” directed by Robert Wilson and composed by Philip Glass, on Friday at the Arverne Cinema. “It’s interesting to consider the allegorical beach and the real beach,” Okshteyn said. “Also it was made in 1976 and a lot of Trisha’s younger work was made around the same time.”As for bringing a sliver of that world and its art, particularly the Trisha Brown company, to Rockaway? “I’m honestly kind of still in shock that they’re performing,” she said. “Beach Sessions is a homegrown project. I hope it’s inspirational to other young programmers that if you just stick to it, you can do what you want to do. You can grow something on your own.” More