In the News

Arrabal, making its United States premiere at the American Repertory Theater in Cambridge, is a gorgeous, sensual show that tells its complicated political story through the media of music and dance.
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Directed and choreographed by Tony nominee and Laurence Olivier Award winner Sergio Trujillo, with live music composed by Oscar-winning Gustavo Santaolalla, the production is a nonstop explosion of visual and aural mastery.
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Tango is not just a dance in director Sergio Trujillo’s “Arrabal.” It’s a life force. This purgative piece of dance theater reinvents the tango and is at once sexy, soul-shattering, and, ultimately, cathartic.
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Arcade in her marvelous middle age is a lovely example to us all. Yes, you've got to tell all your truth to power, but you don't have to stop dancing to do it.
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Ms. Arcade, whose delivery suggests what might have happened if Phyllis Diller had fallen in with the Andy Warhol crowd (as indeed Ms. Arcade did), trains her stiletto wit on the gentrification of New York in this entertaining if rambling show. 
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In her mesmerizing theatrical shows, Ms. Lang has won critical acclaim for stepping into the skins of complicated veteran rock divas, like Nico of the Velvet Underground and the British rocker turned art singer Marianne Faithfull. Her newest show brings back Tammy Faye Starlite, a fictional character that made her a downtown New York club star more than a decade ago.
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At the heart of “Arrabal,” of course, is the tango, which threads together the story loosely told through dramatic movement, going forward in time then flashing back to the horrible years of the dictatorship. The dancing is gorgeous, robust and erotic, nothing short of marvelous.
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It is of course the dancing that matters most, and this is accomplished by a troupe that clearly knows what it is about. If this is the kind of experience you've enjoyed in previous dance pieces, you won't be disappointed.
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Like tango itself, the show intimately acquaints you with the most powerful emotions, from despair to sensuality. And it will make you want to undo buttons.
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Clad in a plaid shirt, black shorts and black boots, Ms. Gomez performs her show, which she wrote and which is directed by David Schweizer, as a sort of live movie script. (“Flashback. Interior. Doctor’s office.”) Her delivery is crisp, brisk and often deadpan, but her big, dark eyes gleam with intensity.
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