Amanda Treiber + Company: A slow burn creating a deep warmth
Our take
In a world where the arts often grapple with visibility and relevance, the launch of Amanda Treiber + Company (AT + Co) at the Mark O’Donnell Theater in Brooklyn serves as a poignant reminder of the power of dance to explore the complexities of human relationships. The performance, which featured the world premiere of *why I can’t come to the phone…* alongside *MADERA* (2021), not only showcased the innovative choreography of Treiber but also provided a platform for dialogue about the intricacies of connection and disconnection in our lives. This opening season is a significant milestone, particularly in the context of the broader artistic landscape, where the exploration of personal narratives can resonate deeply with audiences, much like the themes explored in works showcased in other articles, such as Dance takes center stage in Lincoln Center’s ‘Summer for the City’ and Book review: Gavin Larsen and Gene Schiavone’s ‘Infinite Steps: Thirty-three Dancers and Their Lives in Ballet’.
Treiber’s work delves into the mundane and the profound, weaving a narrative that mirrors the experiences of many, touching on themes of vulnerability, intimacy, and the often unspoken complexities of relationships. The performance's structure, particularly the seven episodes of *why I can’t come to the phone…*, offers an innovative lens through which to examine how we communicate, connect, and sometimes fail to do so. The juxtaposition of “The Bound” and “The Unbound” in the choreography evokes a sense of tension that many can relate to, especially in our hyper-connected yet increasingly isolated world. This is particularly relevant as we navigate a post-pandemic landscape where the significance of human connection has been freshly illuminated.
Moreover, the choice to present these works in a black box theater, an intimate setting with only 87 seats, amplifies the emotional resonance of the performances. The audience is not merely passive observers; they become part of the experience, enveloped in the warmth and vibrancy of the moment. This atmosphere fosters a deeper understanding of the themes being explored, reminding us of the importance of shared experiences in the realm of art. It encourages us to consider how dance, much like our personal journeys, can serve as a vessel for expression and connection, resonating on both individual and collective levels.
As we reflect on the significance of Amanda Treiber + Company's inaugural season, it prompts us to consider the broader implications of such artistic endeavors. In a time when the arts are often underfunded and undervalued, the emergence of new voices and innovative perspectives is crucial. How do we, as a society, support these narratives that challenge us to feel deeply and think critically? As seen in the upcoming recognition of influential figures like actress Katie Holmes at events such as ABT’s 2026 Spring Gala, it becomes evident that the intersection of art and culture remains a vibrant space for dialogue and evolution.
In the end, Amanda Treiber + Company’s work serves as a beacon of inspiration, encouraging audiences to embrace their own stories and the narratives of others. As we move forward, let us remain vigilant in seeking out and supporting artistic expressions that challenge conventions, foster connections, and celebrate the beautiful complexity of the human experience. The question we must ponder is: how can we further cultivate this space for growth and authenticity within our communities?
Mark O’Donnell Theater, Brooklyn, NY.
November 9, 2025.
Amanda Treiber + Company (AT + Co) presented an inaugural season at the Mark O’Donnell Theater in Brooklyn NY in early November. The company performed two works, why I can’t come to the phone…(world premiere) and MADERA (2021), both choreographed by Treiber. Michael Scales and Manuel Figueroa-Bolvarán performed live on the piano and double bass. On the night of my attendance, the house (a black box theater of 87 seats) was entirely full and the mood warm and vibrant.
The seven-episode why I can’t come to the phone… explores both the mundane and the complex that permeate the range of human relationships. Episode 1: “The Bound,” and Episode 4: “The Unbound,” are both danced by the same couple, a couple honoring the deep value of platonic friendships. The piece, scored by Philip Glass and performed by New York City Ballet pianist Michale Scales, also utilized voice recordings of the dancers and a rousing harmonica solo from Harrison Coll. All episodes displayed the pleasantly unbothered, nothing-to-prove quality of Treiber’s choreography, but the final episode, “The Long Goodbye” (Monica Lima, Harrison Coll), struck me as so painfully and beautifully real with long moments of stillness, evoking the chasms in relationships that can catch us off guard.
Following intermission was MADERA, which was largely improvised from both the dance and musical perspectives. The haunting journey uses atypical piano accompaniment, along with variations of the double bass. Scales rarely sat at the piano, and instead used an array of items to manipulate the potential of the strings from inside the instrument. The desolate, stark quality of the music juxtaposed with the humanity of the dancing. Treiber, along with Lima, simply demonstrate the resiliency of people, and the care we have for each other even in times of metaphorical grayness. The work had a meditative quality to it that transported the audience to this world of musical loops and electronics, and of tender moments of flesh.
The evening had an understated excellence driving it. Attention to detail and thoughtful curiosity both played roles to bring such experienced artists to the stage. It wasn’t flashy, although the dancing was superb. Flashy is quick and bright, but this was a slow burn – and one that created a deep warmth.
By Emily Sarkissian of Dance Informa.
The post Amanda Treiber + Company: A slow burn creating a deep warmth appeared first on Dance Informa Magazine.
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