For Press and Presenter Inquiries:

Dyanne Cano, Managing Director

dyanne@thebigshowco.com

323-484-MOVE (6683)

or

Arianne MacBean, Artistic Director

arianne@thebigshowco.com

323-484-MOVE (6683)

 

PRESS PHOTOS

 


Download the Big Show Co. 2013 E-Press Packet


Press Quotes

"Compelling, introspective, humorous, intelligent, entertaining. MacBean’s savvy dialogue and accessible characters made it endearing... the dancers turned in a strong performance."

- Leigh Donlon, www.ballettothepeople.com, Review of The People Go Where the Chairs Are, ODC July 2014 

"Engrossing... a collaborative spirit let out on a slack leash. Anarchy threatens. The People Go Where the Chairs Are offers a wry commentary on how some artists think and talk so much about a dance that it never gets completed."

- Allan Ulrich, San Francisco Chronicle, Review of The People Go Where the Chairs Are, ODC July 2014

"In the serious yet entertaining "People…" we see the dancers both as performers and the people they are, or at least the personas they assumed. Their bravery, struggle, anger, and sense of being in this together despite the odds was something that spoke clearly and effectively. (We) witnessed an amusing, insightful, and lively performance of the process it takes to make an amusing, insightful, and lively performance. Quirky, often equally funny and poignant."

- Rita Feliciano, San Francisco Bay Guardian, Review of The People Go Where the Chairs Are, ODC July 2014

"(In present tense) verbal language entered as fragmentary phrases or single words, which acquired meaning in the way they are spoken, screamed, thrown about, casually chained to each other. At one point they simply disappeared into sound that is part of pure physical frustration. Effective was the way they shouted fragments, or single words that would make a sentence, at each other. It all started with Attwell's silent scream."

- Leigh Donlon, ballettothepeople.com, Review of present tense ODC July 2014

“What can I say? I love humor...But, humor aside, the craftsmanship and composition was what made this piece so victorious in the end. It gave the audience the chance to see the piece come to life, and gave the audience a reason to cheer for the success of the piece. It was a choreographic victory happening before our eyes!”

- Beth McGill, Review of 100 Times is Not Enough, dancingpoetess.blogspot.com April 2013

“Your performance was inspired and so damn funny!” 

–Stephen Koplowitz, Dean of CalArts School of Dance, Facebook post about Arianne’s solo performance of, 100 Times is Not Enough, May 2013

“The performers resisted, railed against, experimented with and celebrated various elements of improvisation, choreography and dance. The lighthearted, silly, and at times goofy exchange in The People Go Where the Chairs Are was belied by the truly reflective and introspective questions faced by not just dancers, but all artists.” 

–Joanne Zimbler, Review of The People Go Where the Chairs Are, exploredance.com, February 2012

“In Leaving (and other rabbit tricks), Brad Culver and Genevieve Carson convey the insurmountable distance between two minds, and it is riveting. It is pieces like these that place dance performance at the highest tier of human understanding.”

– Colleen M. McLellen, Review of Leaving (and other rabbit tricks), culturespotla.com, April 2010

Leaving (and other rabbit tricks) also violated expectations by creating a duet front-loaded with textual scenes and depriving us of the dancing we expected until the very end. Performers Brad Culver and Genevieve Carson gave standout performances as a couple ensconced in the universal conflict of miscommunication between the genders. Their comical exchanges – an extended quibble about magic tricks, of all things – cultivated a believable layer of tension between the two thick enough to cut with a proverbial knife. Most humorous were interludes in which the two attempted to complete a simple hug yet fell short because of their preoccupation with the mechanics of the movement. When the two finally fell into a tender dance duet at the end, draping themselves over one another in exasperation and affection, the physical contact was a powerful catharsis that drained off the palpable frustration. Dance, in this case, was the magic rabbit that MacBean pulled out of her bag of tricks.

- Rachel Levin, Review of Leaving (and other rabbit tricks) exploredance.com April 2010

“Dancer-Choreographer Arianne MacBean is the Diane Keaton of dance – quirky, endearing and eminently watchable.”

– Victoria Looseleaf, Review of The Dance Moving Forward Festival, Los Angeles Times, May 2005

“Provocative and deftly physical.” 

– Victoria Looseleaf, Description of MacBean’s work in a feature article about dance “Raising the Barre in Los Angeles,” Los Angeles Times, January 2004

“Isolated, restless yet deeply connected in ways the audience could understand even if they could not, these women represented all those who desperately need the lifeline of friendship or sisterhood so feelingly celebrated in this thoughtful, human feminist panorama.”

– Lewis Segal, Los Angeles Times, July 2002