“HALF-LIFE” quartet , 10:33 minutes

  2 males, 2 females on point

   music: LAIBACH, premiere: 11.05.11

“HALF-LIFE 102” SEXTET, 10.27.12

“HALF-LIFE, the dynamic quartet which ends the evening, is set to music of Laibach. Above: Paul Monaghan, Max van der Sterre, Erin Ginn. Joined by Temple Kemezis, the quartet of dancers push their energy to the limits; the work ends as the dancers break down, Paul Monaghan's slow mechanical falterings poignantly neutralized as darkness falls.”

Philip Gardner -- Oberon’s Grove -- 11.08.11

“breathtaking dance movements...A most dramatic close to an exhilarating evening!”

Sue Salko -- nytheaterguide.com -- 11.07.11

“Four dancers dance up a storm in "HALF-LIFE" (lighting by Yuriy Nayer). Direction changes happen suddenly in mid-air and the exquisite partnering is never predictable. Jumps explode across the stage. The energy is at fever pitch and the dancers start darting through superluminal loopholes in space before they collapse like broken robots onto the floor. "HALF-LIFE" is both exhilarating and devastating. The title alludes to the decay time of radioactive particles.

In light of the earthquake, tsunami, and subsequent reactor melt-down in Japan earlier this year, the image of a lone raised arm in the huddle of seemingly broken bodies is a powerful outcry that resonates long after leaving the theater.

With "HALF-LIFE" Rübsam proves to have a vision how to propel the art form ballet into the future.”
Bella Rehnquist -- dance-enthusiast.com -- 11.06.11

Matthew Gurewitsch/Capital New York: SENSEDANCE studio run-thru of "HALF-LIFE": hi-voltage, brimming w/ joyous spirit & invention. 3 NYC shows 11/5-7.

TWEETED on October 28th, 2011 5:41pm

“The cast begins in lanes wearing swim tanks and shorts. Their arms are straight and scissor in front of them, as if propelling them forward in a race. They take turns in same-sex duets, circulating and exchanging forward and upstage positions. The male duets are a highlight of the evening.

There are wonderful elements in this dance, with all its hopeful hubris. I like that they start HALF-LIFE facing the wall and then turn. I like the musicality. It recapitulates its own impossibilities when in the end the cast lies on their sides with Monaghan's arm hanging straight up, as if he is holding a white flag. On first viewing it suggests apocalypse, to apt music by the Slovenian band Laibach.

HALF-LIFE and Göttingen poignantly tackle the big questions and put Rübsam forth as the Anselm Kiefer of dance.”

Lori Ortiz -- readingdance.com -- 6.26.11

  “vibrant and brave dancing from all dancers:... A rock star quality.”


Deborah Wingert


photo: Nir Arieli