DoPe Press

Reviews – Paris-LA

For George Balanchine, the American ballet world was a blank slate. Arriving in New York in 1933 at the behest of patron Lincoln Kirstein—co-founder, with Balanchine, of the School of American Ballet (1934) and the New York City Ballet (1948)—the choreographer

Dropping like a Hammer Film Production from the 1970s or an errant episode of Dark Shadows, Bruce LaBruce’s new SAINT-NARCISSE takes the titular myth to its queer conclusion when long lost twin brothers Dominic and Daniel—the former a leather-clad biker,

THE NOWHERE INN—a meta-documentary devised by Annie Clark and Carrie Brownstein—finds the close friends on tour, Clark as herself and her musical persona St. Vincent and Brownstein as a film director looking for the story, any story, behind the songs. As

Dash Snow was a beloved Manhattan figure of pure recklessness among a close group of friends whose attitudes and actions formed a necessary counter to an art world mired in slickness and a city transformed by irrepressible gentrification. A tagger

Ron Athey grew up in a family of Pentecostals and spiritualists. Speaking in tongues and dream analysis were everyday activities. Athey was revered as a young prophet whose tears were saved and shared on pieces of cloth. Someone once said

In Pablo Larraín’s filmography, EMA falls between Jackie and Spencer, and like Mrs. Kennedy and Princess Diana, Ema (Mariana Di Girólamo) is a mesmerizing performance artist, the protagonist of disparate narratives of cauterization and healing. An extraordinary celebration of movement

For the first decades of his career as a director and screenwriter, Tsai Ming-liang followed the traditions and complications of conventional film production, catering to a mainstream audience and its generic expectations of dialog, plot, and resolution. But once discovered

Decades before Andrew Lloyd Webber fired Patti LuPone as Norma Desmond and replaced her with Glenn Close, another drama over the musical makeover of Sunset Boulevard played out in California and New York. In the mid-1950s, a fledgling songwriting team

In JUMP, DARLING—written and directed by Phil Connell in his feature debut—Cloris Leachman plays irascible, plain-spoken Margaret, resident of rural Ontario and survivor of an alcoholic husband. Recognizing the same tendencies in her grandson Russell (Thomas Duplessie)—who has recently decamped to

Following a one-off recital of Oedipus Rex at the Dorothy Chandler Pavilion in June, indoor performances returned to downtown Los Angeles earlier this month with the world premiere engagement of SUGAR HOUSES by Rosanna Gamson/World Wide at REDCAT. Judiciously spaced in