Sarah Michelson's Devotion, at the Kitchenhttp://www.thirteen.org/sundayarts/blog/sarah-michelson-uncompromising-devotion/1037/
Michelson spun the black box theater sideways, splitting the house so that the stage occupied the right half, and we the left; a carpet moat separated us. The house entry doors were then ingeniously used as baffles for spotlights, and entrances/exits. Several meticulously painted portraits by TM Davy, along the lines of Socialist Realism or Rembrandt, were installed up high, delicately lit. Flower clusters of lighting hung (one on a pivoting axle making a scary guillotine later on); one sprouted from the floor, cheekily obstructing views of “prime” seats. (Michelson co-designed the thrilling lighting with Zack Tinkelman, as well as the costumes with James Kidd and Shaina Mote). In the latter part, as Glass’ music evokes Twyla Tharp’s In the Upper Room, the dancers’ costume changes begin to mimic Norma Kamali’s for Tharp’s piece—black and white stripes, red socks and tank leotards. That music is so closely tied to Upper Room, that acknowledging it through costumes, and all the running, is cleverly elegiac.