The Performance Club

Critic’s Notebook

Keith Hennessy is smart sex

I can’t wrap my sensibility around green

Beyoncé’s choreography crew would approve of Jennifer Lacey: she can dance in heels, and how

“It’s been a marathon of fun-ness. And intense isolation and craziness.”

There’s something about those downtown artists from the ’80s. They need the threat of violence.

I never know the difference between critic and reviewer. That probably means I am a reviewer.

How did I land in Sarah Michelson’s id?

Michael Kaiser: A Life.” Or: “How the world stopped looking like the world I built, and how that makes me feel.”

I wonder if Young Jean Lee knows about “Mad Heidi.”

“festivals in and of themselves are not necessarily bad for artists or art. Crossing the Line is an example, for me, of a festival that is focused and limited in scope and manages to frame a certain type of work in a very specific way that actually helps the work to stand up on its own terms. As a strategy for the contextualizing / framing of work I see the appeal.
Conversely, there’s Performa…
But having 3+ (and growing) festivals of experimental performance is just insane. How is it good for art? How can any of the people who are seeing show after show after show give the time and attention that a strong work of art truly deserves? It’s good for PR certainly, it’s good for marketing, it’s good for buzz and energy and critical mass, it’s good for the “international art marketplace” but I think we are going to reach a density that will fold in on itself and then explode (like the big bang!). I think quiet work can get totally lost in the noise. I think durational work loses its impact because our sense of time is so accelerated…I think people (audiences) are even less willing to be bored. I think everyone is operating from a place of fatigue and vague desperation. I think presenting all this work in the context of festivals which are competing with each other for attention and press and audiences and all of that, takes away the one thing that good/strong artists really know how to do – own and control a certain time and a certain space in a way that feels wholly unique to them. And the audiences aren’t nearly as able to give the attention and mental/spiritual space that good work can require.
I feel the same way about visual art clusterfucks like the Biennial & Greater New York.
and of course, there’s the economics of it all. everything is happening on the backs of artists.
& of course, I could be totally/short-sightedly off base”


Such a fucking relief to see someone who knows what he’s doing. Jesus.


“Shall we do something?” “I’m doing something.”


If old people didn’t go to the theater, how often would cell phones really go off?



I’m pretty sure I’ve seen that two-legged deer in another show.


Does Mariano Pensotti like “The Savage Detectives”? He MUST.Wait wait wait, girls on the beach, was that a Proust reference??? ohmygod did he really just quote “In Search of Lost Time”???? Marry me, Mariano.


I’m wearing my sweater vest in honor of the situation.”



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