Why Every Rat Is Guido

Originally published May 2012

Back in the 1980s, there was a lot of construction going on in the neighborhood of my second-floor Upper West Side hovel. Gigantic creepy rodents with long tails, disturbed by all the racket and disruption, were spotted entering our apartment building as if they owned the place, or at least paid rent there.

Richard, my boyfriend at the time, would report sightings of the rats in the laundry room and even in the lobby, slipping through the cracks in the mailbox wall. That, of course, did not make me a happy camper, but I had not yet had a close encounter with a rodent and wanted to keep it that way. I succeeded — until the radiator pipes under my floorboards sprang a leak, and workers were sent to make repairs. When they finished patching the pipes, they departed, leaving a gigantic hole in the floor around the radiator in the living room.

Late that night, as Rich and I prepared to sleep, there was a loud, loud, LOUD rustling sound from the kitchen — a sound from something definitely larger than a mouse. I admit to screaming hysterically and turning every light on in the apartment. Rich went into the living room with whatever weapon he was able to grab at the time (his drum sticks? a yardstick? not a baseball bat, since we didn’t have baseball paraphernalia at that time) and made a lot of noise, but fortunately the critter escaped (I say fortunately because I don’t think I could have handled an actual sighting – the sound was horrible enough).

Continue reading this post on the Why Every Rat Is Guido page.

 

Q Dance at the Joyce

Originally published June 2012

 

In June 2012, Peter Quanz brought his new company, Q Dance, to the Joyce Theater in New York City. The company performed In Tandem and Luminous, and these two spectacular ballets brought great joy to the audiences that had the privilege of seeing them (I went to both performances). I saw In Tandem when it was first produced at the Guggenheim, in the Works & Process program. What I really enjoyed when seeing it again at the Joyce was how deep the choreography is. This year I marveled as I saw a new beat, a new moment, a new insight that I hadn't seen before. That is a sure sign of choreographic creativity, and of the artistry of the dancers. The photo on the postcard below is from In Tandem, and I am so taken by the costumes by Anne Armit. The costumes move but don't distract. And her costumes for Luminous were truly luminous. 

When I first saw one of Peter Quanz's ballets, Springscape, for ABT's Studio Company, I was caught up in the dancing from the first moment and was mesmerized until the end, only seeming to re-emerge into my mundane reality when I heard the applause. I have found that to be the case in every ballet of his I've had the good fortune to see. He grabs you and takes you happily where he wants you to go. I just hope now that some adventuresome company will revive Charlies Kreuzfahrt (which I saw in Chemnitz, Germany) and let more people take that delightful journey. In any event, whenever I can see a Peter Quanz ballet, I will be there.

And See All the People on the Big Screen

First published January 2011

AND SEE ALL THE PEOPLE ON THE BIG SCREEN

Susan Kirby as Margaret Sanderhof

Margaret Sanderhof, the church organist, can be seen having a major meltdown at Anthology Film Archives on Thursday evening, January 20, at 6:30. Come on down to 32 Second Avenue in New York City for the premiere of And See All the People, directed  by Jon Russell Cring. It's going to be a lovely film, and we'd love to pack the house!

To buy tickets in advance, or to order a DVD for $10, go to this link. [link no longer active]