White Noise 2018 looks at how the individual contends with the tension generated by the overlap of white noise and their inner voices.
(photo credit: RUNE ABRO)
When you have a hit on your hands, it is generally a good idea to try to prolong its shelf life, thereby spreading the word of your work as far and wide as possible and, of course, keeping the cash register ringing loudly and heartily. But when you revisit a popular offering a while down the line, a degree of caution is advised. You want to draw fans of the original creation to come to the new version, partly by not straying too far from the initial plot, but there has to be some added entertainment and artistic value to the reprise.When White Noise 2018, by the Vertigo dance company, is unveiled – at the Opera House in Tel Aviv, January 19-20, and the Jerusalem Theater on January 25-26 – as part of the Israeli Opera’s Dance and Revolution series, dance fans who caught White Noise all of a decade ago will, no doubt, be put in mind of Vertigo founder and choreographer Noa Wertheim’s first rendition back in the day. But they will also get the more expansive take on the source material.
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