UNIVERSITY OF MICHIGAN- Camille A. Brown & Dancers mesmerized audiences and schoolchildren across Southeast Michigan during their January residency.
DANCE TABS- Play Without Words
From workshops in K-12 schools to community dance events, a sold-out School Day Performance, and the UMS debut of their powerful work, ink, here are seven of our favorite moments:
1. TEACHING ARTIST WORKSHOPS
UMS Teaching Artists worked with Scarlett Middle School students and other local schools to learn about Camille Brown’s unique choreography and movement, in preparation for their upcoming School Day Performance. To bring the lesson full circle, Teaching Artists returned to each school to lead post-performance workshops.
THE NEW YORK TIMES- Review: Camille A. Brown’s Rousing and Incisive ‘ink’
The choreographer Camille A. Brown has a rare talent – the ability to make you understand a situation or state of mind through dance. And it’s not easy; how many choreographers try to telescope stories or relay messages and either leave you scratching your head or resort to a vocabulary so obvious and didactic it feels like a lecture? Brown triumphs where others fail; she has found that sweet spot, the place where meaning and movement meet. And she does it with humor and warmth.
INFINITEBODY- Camille A. Brown's superheroes write their names in "ink"
The choreographer Camille A. Brown often talks about the struggles she faced with body image as a young dancer, when teachers told her that she didn’t have the “ideal” dancer’s physique. I hope those people have been following her career, because she has been proving them wrong for about two decades, and continued to do so on Tuesday at the Joyce Theater with the New York premiere of “ink.”
DANCE NETWORK- From Broadway to The Joyce: Camille A. Brown is Leading the Way
Do not trifle with Camille A. Brown. The woman knows her mind, and her secure creative imprint has been felt, now, not only on dance stages but on television and Broadway. Ask her a question--as folks did during her audience dialogue at The Joyce's opening night for ink--and, without any hesitation, you get Direct Camille. Her movement might appear, to some, a chain of several interlocking dance genres, but it is not thoughtlessly or simplistically so. Nor can we shove it under a safe, defining label. What to call what she crafts in her work? "It's me," Brown says.
PLAYBILL- Watch Oscar Winner Tarell Alvin McCraney and the Company of His Choir Boy Talk Opening Night on Broadway
Camille A. Brown has had a pretty incredible year from choreographing the Tony Award-winning musical Once on this Island revival to showcasing her skills to a mass audience onJesus Christ Superstar Live in Concert. It was a year that is hard to top, but 2019 already started off with a bang for Brown.
THEATER PIZZAZZ- Chior Boy – Joyous
Tarell Alvin McCraney has won an Oscar, a McArthur Genius Grant, and a PEN Award. He is the playwriting chair at the Yale School of Drama. And, as of January 8, he has officially made his Broadway debut with his Choir Boy. The writer behind In the Moonlight Black Boys Look Blue(on which the Oscar-winning Moonlight is based), The Brother/Sister Plays, Wig Out!, and more brings his singular voice to Manhattan Theatre Club’s main stage at the Samuel J. Friedman Theatre with the play that marked his first commission out of graduate school.
VULTURE- NBC’s Jesus Christ Superstar Set a New Standard for Live Musicals
Extremely talented Jeremy Pope as Pharus, is a golden voiced tenor whose bright eyes are always facing up to heaven and has much to say as he makes his way toward graduation as leader of the gospel choir at Charles R. Drew Prep School for Boys.
BROADWAY NEWS- Review: ‘Choir Boy’ vibrates with emotion, moves with lyrical dialogue
NBC’s live production of Jesus Christ Superstar was pitched to audiences as a “Live in Concert” version, which led some to expect a straightforward performance of the songs. It turned out to be an inventively staged production of Andrew Lloyd Webber and Tim Rice’s rock-and-roll gospel, so passionately imagined that it set a new standard for this type of event.
INDY WEEK- Camille A. Brown Begins Her Duke Performances Trilogy with a Five-Star Ink
Spiraling in the light, fog stealthily transforms schoolboys in their locker room into living sculptures, accompanied only by the insistent atonal plinking of dripping taps in the offstage shower. In the theater, moments like these ravish our senses and happily “Choir Boy” is filled with an arrestingly indelible array.
BOSTON GLOBE- Play’s the thing in triumphant ‘BLACK GIRL’ at Jacob’s Pillow
When African-American artists “write their own narratives in dance,” as Camille A. Brown put it to the INDY—including the interior facts of their relationships with friends, family, and spouses; their coming of age; and their history in the African diaspora—their bodies are the ink. That’s the first in a series of private truths made public in Brown’s ink, the revised version of which premiered in Durham last week, part of a series of Duke Performances residencies that will bring us Brown’s whole trilogy this year.
NY TIMES- A Storytelling Choreographer Who Listens to Her Audience
In the immortal words of Cyndi Lauper: Girls, they wanna have fun — and that goes for girls of all colors, the choreographer Camille A. Brown reminds us triumphantly in her 2015 “BLACK GIRL: Linguistic Play,” performed by Camille A. Brown & Dancers at Jacob’s Pillow Dance Festival through the weekend.
For an in-demand choreographer, Camille A. Brown spends an unusual amount of her time listening and responding to what audiences have to say. Often, what she hears is upsetting. Sometimes the most disturbing comments prove the most useful.