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DAY IN THE LIFE OF DANCE: Triskelion Arts Presents Julia Antinozzi's "The Suite"

DAY IN THE LIFE OF DANCE: Triskelion Arts Presents Julia Antinozzi's "The Suite"
Hannah Lieberman

By Hannah Lieberman
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Published on April 8, 2024
Photo courtesy of Julia Antinozzi

The Suite

Choreography by Julia Antinozzi

Performed by Sienna Blaw, Dasol Kim, Paulina Meneses and Kelsey Saulnier

Music by Ryan Wolfe

Costume Design by Sonya Gadet-Molansky

Lighting Design by Anna Wotring and Connor Sale


Triskelion Arts

April 11 @ 12pm and 8pm

April 13 @  2pm and 8pm

Tickets here

Triskelion Arts presents The Suite by Julia Antinozzi this weekend. Awarded both the inaugural Trisk Fellowship and the New York Live Arts “Fresh Tracks” residency this past fall, Antinozzi is quickly becoming an important and consistent voice on the New York dance making scene. 

Photo courtesy of Julia Antinozzi

The Suite revises typical structures and characters of romantic, plot-de-emphasized ballets. It is organized as such–with sections titled “La Tarantella” and “First [or] Second Variation.” The work’s most striking clarity lies not in this arrangement, however, but in the choreography itself. 

Antinozzi’s dances reveal their logic almost instantly. Her choreography always contains a particular nonchalance, magnified through remarkably detailed gestures and spatial patterns. In The Suite, it feels as though performers Sienna Blaw, Dasol Kim, Paulina Meneses and Kelsey Saulnier — with whom Antinozzi frequently works — are speaking their own intricate language. Their specific words, spoken quickly and effortlessly, may not directly translate to the audience, but their mannerisms and physical sensibilities invite viewers to track the abstract plot. Key relationships unfold as the dance forges on. It’s dramatic, but instinctive.

Photo courtesy of Julia Antinozzi

Everything about the composition of The Suite is deliberate. Not one step or gesture feels as though it doesn’t belong in the world, and yet, there is very little repetition of standalone shapes. Sentences are repeated, but individual words, not so much. It’s this constant novelty that ropes you in, demanding that you keep one eye on the narrative at all times. 

Throughout Antinozzi’s body of work, ballet vocabulary peeks through casually, here and there. But they are able to weave it such that the work never loses its “this is just happening” feel. It’s a clever reclaiming of the form that, to my knowledge, the field has yet to see. 

Ironic nonchalance meets the romantic drama of the ballet in The Suite.  Don’t miss it. 

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