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September 18, 2005
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This one was an interesting challenge. I suggested to my editor (Alexandra Tomalonis) two concerts I thought were worthy of coverage, but asked not to do them because I felt I knew both people (Glen Rumsey and Miro Magloire) too closely to have "clean hands". But other reviewers were doing other assignments and it came down to - if I wanted them to be covered, I would have to cover them. I'm a walking conflict of interest in the very close-knit dance world, so I have already had experience walking this tightrope, I think with some integrity. It's impossible to write as if you didn't know and like the people you review. I wouldn't have asked for them to be reviewed had I not felt their work deserved - and could handle - coverage. If I had hated it? Like most other reviewers in that situation, I would have probably asked not to file. I also think it's important to make your connection to the artist clear, but it's difficult to do that without being "noisy". I've had the disclosure removed by editors in some articles because they felt the work didn't need it - which made me slightly uncomfortable but also proud that I could maintain my objectivity.
I don't mind being openly supportive or partisan (it's done honestly), what's harder is keeping myself from pulling punches and switching allegiances. Ironically, this belies my previous post. When I am writing about colleagues and friends, I can't say the dialogue isn't directed at them in some way. I know they're reading it and yes, I am trying to think about the reader first, but I can sense the difference in tone because the intended audience has shifted slightly. That said, I still stand by what I wrote in more usual circumstances.
Glen Rumsey Dance Project and New Chamber Ballet
[Rumsey]
Plastic sheets like overgrown shower curtains were hung from the poles as scenery, forcing the audience to shrink away or duck through them to get to their seats. The atmosphere—intimate, close and shrouded—was like a jamboree at a sex club.
[Magloire]
New Chamber Ballet is a barebones operation rigorously pared down to the essentials. Small casts, simple leotard costumes and no lighting beyond a dimmer are all part of an ascetic approach. But there’s also glorious live music, Bach played so beautifully on violin and piano by Melody Fader and Erik Carlson that it could make the most uncomfortable folding chair bearable.
Posted by Leigh Witchel at September 18, 2005 11:06 PM
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Comments
I like the majority of your reviews because they are entertaining, and I don't feel like I'm ploughing through boring copy just to get your general feelings on a performance. I wish I could write that way!
Posted by: Ariel at September 22, 2005 9:35 PM