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 Post subject: Stephen Petronio Company 2006
PostPosted: Mon Apr 17, 2006 11:19 pm 
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Location: Estonia
Quote:
Stephen Petronio Teams With Rufus Wainwright to Create 'Bloom,' About Unjaded Youth
by CLAUDIA LA ROCCO for the New York Times

OVER the last 21 years, the Stephen Petronio Company has built a reputation for ferocious, sexually charged dances. They are adult works, in terms of both their rigorous formalism and their intelligent, often darkly provocative content.
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But with "Bloom," ...

"This is as traditional as I can get: I'm making a choral work with Rufus Wainwright on a 'luminous' subject," Mr. Petronio said with a laugh after rehearsal one day, discussing the piece's spirit of youth and hope.

published: April 9, 2006
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PostPosted: Sun Apr 23, 2006 6:32 am 
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Rufus Wainwright as Muse: Stephen Petronio's 'Bud Suite'
by JENNIFER DUNNING for the New York Times

Stephen Petronio's "Bud Suite," a new work performed by the Stephen Petronio Company on Tuesday night at the Joyce Theater, looks like a little dance that just slipped into a larger existence. Built around a duet Mr. Petronio presented last year at the Joyce, "Bud Suite" is a series of dances that make use of the kind of slightly off-kilter partnering that can be seen in contact improvisation.

published: April 20, 2006
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PostPosted: Mon Apr 24, 2006 10:12 pm 
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Petronio has developed a knack for developing something new for each work yet still make it accessible. The company's current season at the Joyce boasts two world premieres, both refreshing in different ways.

The most compelling aspect of "BUd Suite" is the luscious songs by Rufus Wainwright. The choreography however holds its own against the music. There are many sweeping gestures and interesting partnering to keep even the casual audience member enthralled.

Music plays an even bigger part in "Bloom." Wainwright is the supplier of the score again, setting Walt Whitman and Emily Dickinson poems to music to be sung by the Young People's Chorus of New York City. The placement of the chorus along the left balcony was creative but it underlined the lack of depth and an orchestra pit at the Joyce. Here, Petronio borrows more heavily from himself with the stiff upper body and straight arms present in several of his past works.

"The Rite Part," an excerpt from "Full Half Wrong," is Petronio's take on "Rite of Spring." As one would expect from the music, the choreography built to a frenetic climax. The dancers, several of whom were trained professionally in ballet, exhibited great stamina and control through the last drops of sweat.


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PostPosted: Tue Apr 25, 2006 2:03 pm 
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Location: Estonia
Quote:
Hope Springs
Force that through the green fuse drives the flower
by DEBORAH JOWITT for the Village Voice

But both new pieces are a little softer than Petronio's usual driving, careering, hang-on-to-your-seat works, and he's set them to warm-toned songs by Rufus Wainwright and a new Wainwright score that employs a choir of teenagers. Bud Suite emphasizes connections between people, especially in the opening.

published: April 24, 2006
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PostPosted: Wed Oct 25, 2006 5:20 am 
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Quote:
Stephen Petronio Company
by JUDITH MACKRELL for the Guardian
published: October 24, 2006

At times its crammed vocabulary of stiff, wheeling arms, sullen kicks and ardent, lopsided jumps can make the dancers look like deviant angels, and its thrashing dynamic can make them appear trapped and inert.
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