Austin McCormick (born September 7, 1983) is an American director and
choreographer. He is a graduate from the Juilliard School and The
Conservatory of Baroque Dance and the artistic director/founder of
Company XIV- a Neo-Baroque performance troupe fusing opera, circus,
baroque dance, live music, burlesque and over-the-top design creating
immersive productions. His work has been performed at the Kennedy
Center, Lincoln Center's Peter Jay Sharp Theatre, The Metropolitan
Opera, Alice Tully Hall, Clark Studio Theatre, Symphony Space, The
Flea Theater, Alvin Ailey Dance Theatre, Walter Reade Theater, Mark
Morris Dance Center, and internationally at Biblioteca Palafoxiana in
Puebla, Mexico, The Roxy Art House in Edinburgh, Scotland, and Usine C
in Montreal. His work has been seen at TED (conference), on VH1's
NewNowNext Awards, and TLC's Cake Boss.Roslyn Sulcas, from The New
York Times, thought "Austin McCormick, who runs Company XIV, is a
choreographer far less interested in the particularity of movement
than in a rambunctious theatricality that deploys dance as part of a
sexy, colorful mix of narrative and stage genres. His new “Lover.
Muse. Mockingbird. Whore.†at the 303 Bond Street Theater is no
different in that way from his “Judgment of Paris†or “Le
Serpent Rouge!,†which riffed on various mythological figures and
stories," and Leigh Witchel from dancelog.nyc thought, "McCormick’s
bawdy court dances fit tongue-in-groove with Zimmerman’s vision. The
dances reflected how modern audiences imagine the desires behind court
dancing: a thin veneer of etiquette barely concealing a core of lust.
Minuets degenerated quickly to missionary position. As the Prince sang
a ravishing aria, McCormick had the couples do a slow, lascivious
dance. Both choreographer and director were on the same page, viewing
the structure of the court, its manners and even the Prince’s
beautiful singing as a façade". His work has received acclaim from
Bob Rizzo, who writes for The Dance Coach, "Nutcracker Rouge†is
conceived, directed and choreographed by Drama Desk Award nominee
Austin McCormick. His work is known for its unique mash- up of
classical texts, dance, music, circus, opera, fashion and sumptuous
design." Pia Catton, from Dance Magazine thought, "McCormick studied
Baroque dance and incorporates it into his work. But this influence is
subtle. What’s immediately clear is the range of dance that he has
deftly woven together with concise spoken word and poignant music,
from Arvo Pärt to Marlene Dietrich to Vivaldi. McCormick has a gift
for understanding what captivates an audienceâ€"so much so that the
show has a cinematic feel. That said, this piece is far better than a
night at the movies."
choreographer. He is a graduate from the Juilliard School and The
Conservatory of Baroque Dance and the artistic director/founder of
Company XIV- a Neo-Baroque performance troupe fusing opera, circus,
baroque dance, live music, burlesque and over-the-top design creating
immersive productions. His work has been performed at the Kennedy
Center, Lincoln Center's Peter Jay Sharp Theatre, The Metropolitan
Opera, Alice Tully Hall, Clark Studio Theatre, Symphony Space, The
Flea Theater, Alvin Ailey Dance Theatre, Walter Reade Theater, Mark
Morris Dance Center, and internationally at Biblioteca Palafoxiana in
Puebla, Mexico, The Roxy Art House in Edinburgh, Scotland, and Usine C
in Montreal. His work has been seen at TED (conference), on VH1's
NewNowNext Awards, and TLC's Cake Boss.Roslyn Sulcas, from The New
York Times, thought "Austin McCormick, who runs Company XIV, is a
choreographer far less interested in the particularity of movement
than in a rambunctious theatricality that deploys dance as part of a
sexy, colorful mix of narrative and stage genres. His new “Lover.
Muse. Mockingbird. Whore.†at the 303 Bond Street Theater is no
different in that way from his “Judgment of Paris†or “Le
Serpent Rouge!,†which riffed on various mythological figures and
stories," and Leigh Witchel from dancelog.nyc thought, "McCormick’s
bawdy court dances fit tongue-in-groove with Zimmerman’s vision. The
dances reflected how modern audiences imagine the desires behind court
dancing: a thin veneer of etiquette barely concealing a core of lust.
Minuets degenerated quickly to missionary position. As the Prince sang
a ravishing aria, McCormick had the couples do a slow, lascivious
dance. Both choreographer and director were on the same page, viewing
the structure of the court, its manners and even the Prince’s
beautiful singing as a façade". His work has received acclaim from
Bob Rizzo, who writes for The Dance Coach, "Nutcracker Rouge†is
conceived, directed and choreographed by Drama Desk Award nominee
Austin McCormick. His work is known for its unique mash- up of
classical texts, dance, music, circus, opera, fashion and sumptuous
design." Pia Catton, from Dance Magazine thought, "McCormick studied
Baroque dance and incorporates it into his work. But this influence is
subtle. What’s immediately clear is the range of dance that he has
deftly woven together with concise spoken word and poignant music,
from Arvo Pärt to Marlene Dietrich to Vivaldi. McCormick has a gift
for understanding what captivates an audienceâ€"so much so that the
show has a cinematic feel. That said, this piece is far better than a
night at the movies."
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