Syphilitic, sybaritic dance-hall hedonism is hard to foster at classy Lincoln Center, and at first, Martha Clarke’s terpsichorean peek into the pungent personal realm of stunted painter Henri de Toulouse-Lautrec — his ecstatic and apocalyptic embrace of death-by-pleasure, his use and abuse of his Moulin Rouge muses, his defiant equation of the gorgeous and the gangrenous — stalls a bit, as if choking on the cleanliness of its venue and viewers. But Clarke’s sad, slow dance of decline (set to the music of classical masters and crass balladeers, and mise-en-scéne lifted from the painter’s own ”immortal rubbish”) ultimately hypnotizes, while avoiding any glittery melodramatic Luhrmannizing.
Belle Epoque Syphilitic, sybaritic dance-hall hedonism is hard to foster at classy Lincoln Center, and at first, Martha Clarke's terpsichorean peek into the...Belle EpoqueMartha Clarke Syphilitic, sybaritic dance-hall hedonism is hard to foster at classy Lincoln Center, and at first, Martha Clarke's terpsichorean peek into the...2004-12-03
Author: Martha Clarke; Opening Date: 11/21/2004
Posted January 17 2015 — 6:16 AM EST
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