Oh wow. Oh wow. Oh wow. Gushing. Gotta stop. Sorry. But it’s Trisha Brown Dance Company! Surely you understand? I attended their performance at BAM Friday evening, and I have been savoring it ever since. Her choreography never gets stale. It thrills me. Several months back, I made a comment on this blog about a dance company, saying that had there been more precision in certain places, it would have elevated the performance. Trisha Brown’s dancers have elevated the art of nonchalant precision to the point that even their curtain calls are a pleasure to watch. I have seen them dance many times, so the program was not new to me. The pairings of experimental music/visual artists is always exciting: Set and Reset — music by Laurie Anderson, with costumes/visual presentation by Robert Raushenberg; PRESENT TENSE — music by John Cage, with visual presentation by Elizabeth Murray; and Newark (Niweweorce) — original sound orchestration by Peter Zummo and Donald Judd, with visual presentation and sound concept by Donald Judd. Last night it was the latter that spoke to me the most: Judd’s walls of color and heavy, intermittent tones were a physical presence — offsetting the perfectly formed movements of the dancers, who were themselves almost sculptural. I am excited to see where the company goes next. The idea of site specific dance performances intrigues me, but I will always have a weak spot for their proscenium pieces too. There was a Member Mingle before the performance. It was a super chance to chat with BAM staff and fellow members. It also bears noting that my first ever BAM performance was in 1996. I had just moved from Manhattan to Brooklyn, and a dance friend invited me to Trisha Brown at 25: Postmodern and Beyond. I had never seen the dance company perform, and BAM had not previously been on my radar. I have been hooked on both ever since!