The Brooklyn RailOctober 3, 2018
Juliana May’s performances negotiate the complexities of trauma. Within the choreographies themselves, however, May often decentralizes trauma and catharsis instead of overtly addressing them; aggression simmers underneath the dance, occasionally surfacing before giving way to the work’s other occupations.
The New York TimesOctober 2, 2018
In “Folk Incest,” which begins a two-week run at Abrons on Oct. 9, Ms. May, 38, has set out to grapple with what she calls “seemingly unrepresentable” material; that is, to find ways to speak about the unspeakable. While trauma has been a recurring theme in her work, she said she has never before confronted it so concretely.
The New York TimesSeptember 27, 2018
‘GUMSHOE’ at the Abrons Arts Center (Sept. 28-Oct. 7). Trusty Sidekick Theater Company, known for its innovative and often immersive children’s productions, has acquired some trusty sidekicks of its own: Called the Young Devisers, they’re actors ages 9 through 13 selected to help the troupe create and perform new site-specific works.
HyperallergicAugust 28, 2018
70 of New York City arts organizations have called upon the City’s government to convene a symposium on how to better serve the city’s immigrant community now under siege by ICE and the Trump administration.
The New York TimesAugust 21, 2018
“Screamers,” Mr. Rogers’s first feature film, will be screened at Abrons Arts Center on the Lower East Side on Aug. 24 and 25. An eerie ghost story, it was shot mainly at the church, in Stuyvesant, N.Y., which belongs to the puppeteer Dan Hurlin, who needed a tenant while he was out of the country.
The New YorkerAugust 21, 2018
"This is not a dance film but, rather, an art-house horror movie made by people from the world of experimental dance and theatre. Brian Rogers, the artistic director of the Chocolate Factory, directs a cast that includes such downtown luminaries as Jim Findlay, Jay Wegman, Daniel Fish, and Keely Garfield. The darkly captivating Molly Lieber stars as a dancer who’s moved into an unconsecrated church. While the main draw is the fun of watching these folks adapt their sensibilities to horror-flick conventions, the movie is actually good, a cross between “The Shining” and “Gaslight” in the mode of David Lynch." — Brian Seibert