I did not hate Sasha Waltz’s U.S premiere of Kreatur at the Brooklyn Academy of Music because it enlisted every cliché in ‘avant-garde’ dance-theatre—dancers speaking gibberish aloud, awkward jerky movement, bodies colliding, self-conscious actorly dancers, same-sex kissing, topless women, dancers pulling down the briefs of other dancers, expensive couture costumes, hi-tech lighting, an electronic score, gratuitous use of special-effects props. Continue reading →