In Contemporary Color, the Talking Heads leader folds his recent fascination with emotive, flag-throwing teens into a world he knows well. …Read More
Halfway through the first of three sold-out shows that constitute the American debut of FKA twigs’ “Congregata” stage show last night (May 17), a group of dancers from New York City’s long-standing ballroom drag and voguing scene took over the stage at Sunset Park’s Brooklyn Hangar. Naturally this burst of energy kicked off with a bit of shade: “Did twigs say she was coming to New York?” their ringleader asked, incredulously. Adorned in varying states of glittering glamour ranging from full drag to low-cut onesies and corsets, these male dancers served up impressive aerial spins and drops, battles driven by hand performance, and plenty of catwalk realness. It was a respite from the show’s stunning high-wire eroticism, and yet the voguing break served to underline the most intoxicating element of twigs’ music: a sense of longing. The crowd still wanted to go deeper with twigs.
It’s not often these days that an opera finds itself in the middle of a major imbroglio lasting several news cycles — although back in the form’s heyday people often rioted or jeered at controversial productions. But we’ve had a little taste of opera’s heated history this week, since John Adams’ The Death of Klinghoffer opened at the Metropolitan Opera in New York. The opera, which is playing through November, has drawn protesters, artists, politicians, and Supreme Court justices — not to mention the abstract concepts of political art and free expression — into a major secondary drama. Is it anti-Semitic or fair? Should it be censored or allowed to go on?