Review from The FT.
As non-events go, Monday night's Dance Umbrella appearance by the Trisha Brown company went further than most. Brown is one of the Earth-mothers of post-modern movement and the "what is dance?" shenanigans that occurred in New York's Judson Church during the 1960s. Austerity was all, at that time, and it remains tiresomely so with Brown's triple bill. MORE
And from The Telegraph.
The once-radical American choreographer Trisha Brown probably alienated as many people as she attracted with her choreographed version of Schubert's Winterreise at the Barbican last month; but it was not right to compare that with her dance choreography. More recently, she danced a light, ghostly solo at the Dance Umbrella gala. Again, at 67, she is hors de combat. MORE
And The Times.
BECAUSE this year’s Dance Umbrella festival is celebrating its 25th birthday, the programming has a retrospective feel. Old friends and favourites from the world of contemporary dance are appearing in London to mark the event. On November 7, the actual birthday, the featured attraction will be the Merce Cunningham Company from New York, presenting Anniversary Events in the Turbine Hall of Tate Modern. But before then, another titan of American modern dance, Trisha Brown, is at Sadler’s Wells. MORE
And The Guardian.
Set and Reset (1983) is possibly the most perfect piece of dance that Trisha Brown has made, making it a very dangerous work with which to open a show. Watching its transparent, meticulously crafted choreography is like having a waterfall rushing through your fingers. It induces a trance of pleasure in which every sensory detail sings. The effect is the same however many times you see it, and, while the two newer works in the programme contain breathtaking moments, neither takes us over with the same authority. MORE
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