APOLLINAIRE SCHERR “The Inkomati (dis)cord”—a world-travelling collaboration between dance-theatre artists Boyze Cekwana of Soweto and Panaibra Canda of Maputo, Mozambique—ends on a bright, sardonic note, with a multilingual game of “Telephone.” The words travel down a bench of performers—from Portuguese, Mozambique’s official language, to Sena, one of its native languages, back to Portuguese, and finally to South African English, all of which, including the English, appears in English surtitles on a screen behind the action. As for the story, a woman’s dangerous border-crossing becomes, by the end of the line, a bid for a boob job and a bucket of KFC.
VICTORIA LOOSELEAF Every era has its balletic superstars. From the early 18th century rivals, Marie Sallé and Marie Camargo, through the Romantic period’s Marie Taglioni (the world’s first “La Sylphide”), who was so adored that a male fan allegedly ate her slipper, ballet has mostly been about feminine mystique, beauty and allure.
VICTORIA LOOSELEAF Beauty and anger co-exist in a restless evening of hard-driving dance and thrashing rock music in Susan Marshall’s “Play/Pause.” The Los Angeles premiere of the 75-minute, neo-rave like work features an original score by Pulitzer Prize-winning composer, David Lang (of Bang-On-A-Can fame and frequent Marshall collaborator), and marks only the second time that the New York-based troupe, currently in its 27th year, has performed at Royce Hall. (The work has its New York premiere at BAM Fisher November 20-23.)