Arts reviewer/journalist Marcie Sillman on O'Connor's BLEED at And Another Thing...

So, in order to fully have the most high academic perspective on Tere O Connor and his many ideas I decided to attend the formative pieces of the work I saw previously this week in order to have smart thoughts about them.

But I didn't.

I can always provide smart writings and eloquations and new words towards the things I enjoy or am passionate about; this is how I somehow got a degree from a higher institution in THE COMPARATIVE HISTORY OF IDEAS, also known as a degree in ALL THE THINGS AND ALSO NOTHING AND THAT MEANS SOMETHING.

Melody Datz Hansen at The Stranger interviews choreographer Tere O'Connor:

What is it about Seattle that made this the place for you to present these four pieces?

Seattle is one of the main cities in America that has a dance scene—it’s a destination dance city. The reception here has been great, we had 40 thoughtful people at the workshop and 20 people with some really interesting questions at Monday’s book club.

A large black box stage, simple but effective light design, no props, no video and no set design allowed my senses to become open to Tere O’Connor’s Bleed. It was a joy to witness dancers move with an empty stage as their playground. The dancers became the set, the video, the props and at times the sound score. Bleed is a dance about memory of previous choreographed works by Mr. O’Connor (You still have a chance to see his works poem, Secret Mary and Sister, Friday through Sunday at On the Boards and Velocity Dance Center).