Village Voice 04.19.2017 : Page 51

Jane Kratochvil Opulence and revelry at Dances of Vice’s 2016 Spring Ball 51 April 19 April 25, 2017 VILLAGE PICK OF THE WEEK April 23 NIGHTLIFE WISH UPON A STAR WEEK OF APRIL 1 9 APRIL 25 , 2 017 W W W.VILL A G EV OICE . COM C ALEND AR DANCE Kathy Westwater April 19–22 “How,” Kathy Westwater asks, “might a dance be a monument?” Her latest work, Anywhere , continues her decades-long explora-tion of how the body re-sponds to surrounding landscapes and built envi-ronments like land ills and parks; it seeks to manifest “a contemporary heroism found in the everyday — anywhere.” Westwater, a longtime teacher at Sarah Lawrence who recently received the Solange MacArthur Award for new choreography, shares the floor with Hadar Ahuvia, Ilona Bito, Amanda Hunt, and Alex Romania; music is Henryk Górecki’s Sym-phony No. 3 . Completing the program is last year’s Extemporaneousness , for a cast of eight with music by Mary Jane Leach; both works have lighting design by Roderick Murray. West-water’s long collaboration with photographer Anja Hitzenberger is celebrated with a show in the studio, and the multi-talented Aaron Mattocks leads a post-performance talk on Saturday evening. ELIZABETH ZIMMER At 8 each night, Brooklyn Studios for Dance, 210 Lafayette Avenue, Brooklyn,, $20 Okwui Okpokwasili April 19–29 Multi-disciplinary artist Okwui Okpokwasili, raised in the Bronx, educated at Yale, and working in col-laboration with director and designer Peter Born, brings us Poor People’s TV Room , the culmination of her two-year residency as a commissioned artist at New York Live Arts. She in-terweaves the history of the Igbo Women’s War of 1929, an anti-colonial revolt or-ganized by women from six Nigerian ethnic groups, with the recent “Bring Back Our Girls” campaign, which began as a response to the Boko Haram kidnap-ping of three hundred young girls. The piece, which features Thuli Du-makude, Katrina Reid, and Nehemoyia Young along with Okpokwasili, uses dance, song, and text to “explore Nigerian time, perception, media, vio-lence, and identity,” aiming for “a visceral performance where the past is alive and unleashed in the present.” ELIZABETH ZIMMER At 7:30 Wednesdays through Saturdays, New York Live Arts, 219 West 19th Street, Manhattan, 2129240077,, $15+ Fantasy and flesh get familiar at the Grimm’s Fairytale Spring Ball, the latest edition of this annual seasonal party by masquerade masters Dances of Vice. For the first time, the event welcomes adult-circus impresarios Company XIV, best known for their mesmerizing (and scandalous) versions of classic stories like Cinderella and Snow White. Their presence encourages guests to celebrate the darker side of vintage stories, with seductive cabaret performances and other delights. The German-style Grand Prospect Hall sets the scene with an interior straight out of Hans Christian Andersen. Ensuring full immersion, the fairytale-or-formalwear dress code is mandatory — but rather than Belle’s saccharine yellow layer cake, think Cinderella’s blood-heeled stepsis-ters, or maybe whatever sort of kink Maleficent is probably into. ZOË BEERY At 9, Grand Prospect Hall, 263 Prospect Avenue, Brooklyn,, $35+ FAIRYTALES ARE THE ORDER OF THE DAY AT DANCES OF VICE’S COSTUMED BLOWOUT FILM Beauty and the Beast April 20 Pleasant though it may be to imagine the Disney cor-poration sending shipping containers of cash to the Jean Cocteau estate — “outta respect,” as Ray Liotta’s Henry Hill would have put it — the director’s freewheeling 1946 adapta-tion of the Jeanne-Marie Leprince de Beaumont classic hasn’t exactly cracked the billion-dollar mark in revenue. Cocteau may have established many of the design con-cepts the recent block-buster adaptations treat as canon, but his Beauty and the Beast is as fussily per-sonal as his Blood of a Poet (1930), plunging the viewer deep into a dreamworld, surreal and libidinous, that suggests more mystery than it shows. The effects and makeup aren’t just practical, but seem to have been designed for maxi-mum icky plasticity. The

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