Don’t get washed out of getting tickets to see Pina Bausch’s VOLLMOND at BAM (photo by Laurent Philippe)
Brooklyn Academy of Music
BAM Howard Gilman Opera House, 30 Lafayette Ave.
BAM Harvey Theater, 651 Fulton St.
September 23 – December 19, $20-$85
718-636-4100
www.bam.org
Now in its twenty-eighth year, BAM’s Next Wave Festival is, as always, a terrific collection of productions scouted from around the world. Single tickets go on sale Monday, August 30, for Laurie Anderson’s phantasmagoric DELUSION and Pina Bausch’s VOLLMOND, an extremely strong one-two punch to get the season going, featuring a pair of longtime BAM favorites; we recently caught Anderson at (le) poisson rouge, and she’s still at the top of her game, while VOLLMOND is the final piece from the inventive, innovative, and endlessly entertaining Bausch, who passed away in June 2009, leaving behind a BAM legacy that included the thrilling BAMBOO BLUES, NEFÉS, and FUR DIE KINDER VON GESTERN, HEUTE, UND MORGEN, among other splendid shows. The rest of the series goes on sale September 7, with such highlights as Ralph Lemon’s HOW CAN YOU STAY IN THE HOUSE ALL DAY AND NOT GO ANYWHERE?, Stew’s BROOKLYN OMNIBUS, Julia Stiles in the Ridge Theater’s PERSEPHONE, Sasha Waltz’s GEZEITEN, the Oregon Shakespeare Festival’s version of Akira Kurosawa’s THRONE OF BLOOD, Thomas Ostermeier’s take on Rainer Werner Fassbinder’s THE MARRIAGE OF MARIA BRAUN, Gísli Örn Gardarsson and Nick Cave’s experimental exploration of Franz Kafka’s METAMORPHOSIS, and Mikel Rouse’s multimedia extravaganza GRAVITY RADIO. Subscription tickets are available right now; if you buy seats to four or more shows, you can save up to forty percent and receive such benefits as priority access to future seasons, flexible scheduling, and discounts for additional tickets.
Poor Bozena (Veronika Zilková) and Karel (Jan Hartl) are unable to have a baby, so Karel decides to carve one out of a tree for his desperate wife. Bozena showers her wooden child with lots of love — and soon the little tyke is crying and very, very hungry. Based on a poem by Czech writer Karel Jaromír Erben, LITTLE OTIK was written and directed by master stop-motion animator Jan Svankmajer, who has made such feature-length films as ALICE (1988) and FAUST (1994) as well as myriad shorts, including PUNCH AND JUDY (1966), DON JUAN (1969), MEAT LOVE (1988), and FOOD (1992). In LITTLE OTIK, Svankmajer mixes live action and animation to create a delightful, if disturbingly bizarre, fairy tale. The film will screen on August 17 as part of BAMcinématek’s “Emotional Sloppy Manic Cinema,” a two-week series curated by brothers Josh and Benny Safdie The diverse group of works range from Robert Bresson’s A MAN ESCAPED to Jafar Panahi’s THE MIRROR, from Olivier Assayas’s COLD WATER to François Truffaut’s SMALL CHANGE, from Ulu Grosbard’s STRAIGHT TIME to Ralph Bakshi’s HEAVY TRAFFIC, and from Woody Allen’s HUSBANDS AND WIVES to Elaine May’s MIKEY AND NICKY. Of course, the brothers have also included their own DADDY LONGLEGS and Red Bucket Shorts and will be on hand to introduce several of the screenings, including the 6:30 showing of LITTLE OTIK.
While GLOW was an intimate gathering in the Kitchen, where the small audience sat on four sides of the dance space, a tiny vinyl rectangle on the floor, MORTAL ENGINE turns out to be a much larger spectacle, performed on an steeply raked white platform at center stage of the vast Howard Gilman Opera House, where dancers walk, crawl, twist, turn, and hang on as the lights and sounds react to their movements, in a dazzling display. Two of the floor panels occasionally tilt up vertically, creating walls against which, at one point, two dancers wriggle, as if attached by a sticky substance, accompanied by a fascinating oozy sound. Unfortunately, at times the vastly talented crew gets caught up in the spectacular technology, as long patches of the piece abandon the dancers and simply show off amazing computer-generated interactive lighting and sound design that takes the audience away from the compelling narrative of duality and interconnectedness. But then smoke machines unleash a dense fog that becomes otherworldly as green lasers shoot out across the theater, involving the spectators in the gorgeous maelstrom, the bands of light manipulated onstage by two dancers. Even though a passing random thought of Laser Floyd is hard to avoid, it’s an unforgettable scene, the highlight of a choppy but fascinating night of dance theater.