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Lawrence Goldhuber Biography
Goldhuber has been an active presence in the world of modern dance for 35+ years, beginning with his Bessie winning decade in the ground
breaking BIll T. Jones/Arnie Zane Dance Company. He moves seamlessly between being a performer, working as a choreographer, as a teacher, and as a director, enjoying all capacities
During the pandemic, Goldhuber appeared in several video dance projects, including Come Together with the Jones/Zane Co., Heidi Latsky Dance, Harofei, and Sean Curran Co. Prior to the shut down, he was again working with Bill
T. Jones on Deep Blue Sea, a premier for the Park Avenue Armory, now rescheduled for September 2021. He is featured in a documentary on the creation of Jones’
master work D-man in the Waters (Can you Bring It?) currently released nationwide in theaters.
His choreographic work includes the commissioned premiere of Whose Broads Stripes on the steps of the Federal Hall National Memorial, Julius Caesar Superstar at Danspace Project in NYC, and choreographing and performing in The Seven Deadly Sins: Gluttony, commissioned by Jacob's Pillow Dance Festival. He helped create and appeared in The Cost of Living with British group DV8 Physical Theater at the Olympic Arts Festival in Sydney, London and Hong Kong, and was also part of the creation
and 26 city European tour of the Jan Fabre/Troubleyn production Prometheus Landscape II in 2011. A New York season of his repertory was seen at Dance Theater Workshop (now NYLA) in May 2007, including the commission
of HOODY, an urban version of Little Red Riding Hood. He has choreographed for the students at SUNY Brockport, University of Texas - Dallas,
STEPS, and most recently Manhattanville College.
In the Fall of 2014, Goldhuber directed and performed in Body-ody-ody, seen by thousands of school children at MASS MoCA in the Berkshires, and then again at the Snug Harbor Music Hall on Staten Island in
2015. Goldhuber's Sleeping Giant (based on Daniel Duford's story and installation) with live music by Tin Hat also premiered at MASS MoCA in August, 2008, following a
two week residency. The New York City presentation was performed at the Abrons Arts Center in October, 2008. His work TRELLIS premiered at the Abrons in May 2010. In the Fall of 2016, SMITE, a multi-site-specific Bible epic was to be performed across the grounds of the Snug Harbor Cultural Center and Botanical Gardens on
Staten Island, but rain forced the show to be performed inside the music hall.
Born in New York City, Goldhuber trained as an actor at Boston University and has appeared in many commercials, films and plays. He
performed his cabaret act A Dangerous Habit at Upstairs at Greene Street in NYC. In 1995, Goldhuber received a New York Dance and Performance (Bessie) Award for "sustained
achievement as an influential presence in modern dance" and then served as the co- host for the 2002 awards. He is the recipient of a 2002 Fellowship in Choreography from NYFA, and funding from the
Jerome, Harkness, Mayer, Bossak/Heilbron, and Joyce Theater Foundations, as well as the Manhattan Community Arts Fund, and the American Music Center. His work has been commissioned by The Joyce
Theater Foundation, The Portland Institute of Contemporary Art (PICA), Dance Theater Workshop, Lower Manhattan Culture Council (LMCC), Danspace Project, Performance Space 122, MASS MoCA
(Massachusetts Museum of Contemporary Art), and Jacob's Pillow among others. Goldhuber was an artist in residence at the Joyce Soho in 2005, and at the BMCC Tribeca Performing Arts Center for the
Goldhuber began working with the Bill T. Jones/Arnie Zane Dance Company in 1985 touring worldwide and creating roles in such landmark
dances as Still/Here and Last Supper at Uncle Tom's Cabin/The Promised Land. Other work with Mr. Jones includes Sir Michael Tippet's New Year (under the direction of Sir Peter Hall) for the Houston Grand Opera, Glyndebourne Festival Opera, and the BBC film
version, Lost in the Stars for the Boston Lyric Opera, and Mother of Three Sons also at the Houston Grand Opera. On television, Mr. Goldhuber was featured in both Alive TV's Still/Here and PBS' Great Performances series documentary Dancing to The Promised Land. He continues to make guest appearances with the company.
His company, Goldhuber & Latsky (with partner Heidi Latsky) performed internationally (including a nine city tour of Switzerland)
and received many commissions for new work, including The American Dance Festival (Primus/Tamaris Fellowship in Choreography 1997), The Joyce Theater, The Whitney Museum of American Art at Philip
Morris, PS 122, The Cannes International Festival de Danse, Teatro Libero Palermo, and Celebrate Brooklyn! Goldhuber joined Heidi Latsky Dance at Montclair State University, Lincoln Center, and NYU
in 2015, and in several video/filmed dances.
Larry was often a featured performer at the legendary downtown club Jackie 60. He was on the Artist Advisory Committee of Performance
Space 122 in New York City for a decade, where his solo shows, When the World Smells Like Bacon premiered February 2001, and The Life and Times of Barry Goldhubris enjoyed a three week run in February 2004. He has enjoyed performing with Meredith Monk in Ascension Variations at the Guggenheim Museum, and acting in the play SWELL(ing) Relatives, written and directed by Valeria Vasilevski, at La Mama E.T.C. in NYC. Other dance and theater work includes Jerome
Bel's The Show Must Go On at MoMA, Fred Ho's Journey Beyond the West at Brooklyn Academy of Music's Next Wave Festival, the title role in Golem for the Henson International Puppet Festival, and both Invisible Languages at the Institute of Contemporary Art in London and Tales of Exile at Lincoln Center, with Ruby Shang Company. In addition to several seasons performing with Keely Garfield in New York and London, he has
danced with Sherry Vine at Wigstock, many times with Wallie Wolfgruber, with Janet Lilly, and so many others...
"extremely hefty" Artforum
"unapologetically bulky" LA Times
"chubby but dainty" Oakland Tribune
"not a small man" The New
"extremely corpulent" San Francisco Examiner
"tubby... mountainous... heroic" Village Voice
"a gentleman of Falstaffian proportions" Bergen Record
"fills a room just by showing up" New York Magazine
"a distinctly portly fellow" The New Yorker
"an actor-dancer-choreographer of impressive avoirdupois"
The Village Voice
"An artist of considerable depth and refinement...
...First-rate theater with a surprising edge of poignancy."
Jennifer Dunning, The New York Times
"a witty, touching dance-maker"
Roslyn Sulcas, The New York Times
"Goldhuber is an ingenous theatrical director"
Lisa Jo Sagolla, Backstage
"Goldhuber is nothing short of a miracle...
light and playful as a gazelle."
Lynn Garafola, Dance Magazine
"Commands respect and affection from his very first move...
astonishingly agileand swift as well as immensely
perceptive and confident..."
Tobi Tobias, New York Magazine
"Made the audience laugh outloud...
elegant, stylized, and comical."
Sarah Wallis, Lillith Magazine
"Fierce attention to every step and gesture brought the house down."
Elizabeth Zimmer, Village Voice
VILLAGE VOICE DANCE REVIEW
By DEBORAH JOWITT
You can't exactly say that Lawrence Goldhuber is coming out as a fat dancer. He did that without explanation years ago in the company of Bill T. Jones and Arnie Zane.
And we loved him for it. But in When the World Smells Like Bacon, part of his P.S. 122 program earlier this month, Goldhuber good-humoredly explained his heredity (holding up pictures that
showed the achievement and disappointing aftermath of his teen years in weight reduction camps) and humiliating performing experiences, while tantalizing us with the smell of bacon he's frying up for
a BLT. Just so we know what he feels like every day. He also runs us through his career as a successful heavyweight in a collage of '80s TV commercials edited by David Brooks. He's a knockout as the
Lotus salesman leading an entire office staff in a jubilant, it's-changed-our-lives dance.
Goldhuber uses his size (and gender) to more poignant effect in the 1998 Soy (I am) choreographed with erstwhile partner Heidi Latsky. In this he's an old woman in a head shawl, holding a
guitar and undulating massive hips, while Lola Beltran's taped voice sings mournfully of solitude. Scrubbing the floor with her skirt, reverently covering her guitar with her scarf, this woman enters
your mind and won't get out. Goldhuber reminds us how wonderfully Jones featured his bulk in a sad King Kong solo from Jones's 1992 Love Defined.
Some pieces have nothing to do with Goldhuber's physique. In Gretchen Bender's film Head Duet, he and Latsky nuzzle each other and entwine lovingly, the camera watching from very close or
from above. In the charming new Dances With Wolves, he and Keely Garfield play off one another in a sour Fred-and-Ginger routine, the pair's superb comic timing and performance subtleties a
delight. Amid clever white fabric columns by Gisela Stromeyer, they traverse the dance floor with tiny, well-behaved steps that include a little rhythmic hiccup as a sign of trouble to come. He lifts
her, and both look pleased. Next minute, they're yanking each other into huge, clumsy leaps. Refinement only temporarily masks rage and confusion. In the end, she shreds his credit card.
FEBRUARY 27, 2001
NEW YORK TIMES DANCE REVIEW
7 Choreographers Pick a Sin and Run With It
By JENNIFER DUNNING
BECKET, Mass. — A good time was had by nearly all on Sunday afternoon when "The Seven Deadly Sins" spilled out across the stage of the Ted Shawn Theater at the Jacob's Pillow Dance Festival. Many in
the audience rose in a standing ovation. And the performers and choreographers seemed to have had a lot of fun putting this oddity together. But the parts amounted to less than one might have
Ballet choreographers have been drawn like lemmings to "The Seven Deadly Sins" since the 1933 production by George Balanchine, Bertolt Brecht and Kurt Weill. Always difficult, the piece has now drawn
seven modern-dance and Broadway choreographers, each of whom chose a sin and created a free-standing dance of 10 minutes or less in a well-staged suite. Some episodes were fascinating. Most had
little to do with the sin at hand.
Richard Move's "Lust" was the most Brechtian of the pieces, and Mr. Move drew a stunning performance from Helene Alexopoulos, a principal dancer with the New York City Ballet. A Dresden shepherdess
of a ballerina, Ms. Alexopoulos was a figure of broken sensuality in a long, slow-moving solo in which she remained in a pitiless spot of white light at the front of the dark stage.
Taped phone-sex advertisements and conversations set the context before they were overtaken by crackling static. Dressed in a delicately sexy black-and-white body stocking designed by Pilar Limosner,
Ms. Alexopoulos seemed at first glance a beautifully lithe creature who oozed the requisite heat.
Mr. Move made the most of the ugliness of ballerinas' knotted feet, however, slowly allowing Ms. Alexopoulos's large bare feet and hands and weirdly double-jointed arms to take over the dance. By the
end, as she reached out in a beautifully timed split- second appeal, Ms. Alexopoulos seemed a malfunctioning robot as devastating as Paul Taylor's Big Bertha but full of pathos, a lost object of
The solo needed tightening. The brief appearance of two paparazzi was puzzling. Mr. Move needs to upgrade the black wig, and Ms. Alexopoulos should shed her wedding ring at the next performance. But
this was otherwise first-rate work from both.
Chet Walker's "Anger," set to music by Astor Piazzolla, was a seething Broadway tango danced by Ms. Alexopoulos, Robert La Fosse, Desmond Richardson and Rasta Thomas, an exquisite young ballet dancer
too seldom seen on New York stages. Annie-B Parson created a complete bizarre little world in "Greed," set to music by John Zorn and Weill, in which five women squabbled over several small
well-chosen props. The wonderfully brazen performers were Tymberly Canale, Molly Hickok, Kate Johnson, Krissy Richmond and Rebecca Wisocky, the Sandra Bernhard of dance.
Dancing Hershey Kisses, brilliantly costumed by Liz Prince, were a high point of the afternoon in Lawrence Goldhuber's "Gluttony," set to music by Mark Mothersbaugh and Yello. Their giddy bourrées
and Chinese ribbon dancing were brilliantly conceived by Mr. Goldhuber, who, dressed in a fat suit, fell asleep at a picnic and dreamed of a priapic hot- dog and two nuzzling drumsticks.
David Dorfman's "Sloth" got off to a witty start but soon fell apart in a tangle of clever in-jokes and other verbal play. And Jamie Bishton's "Envy" would have been much stronger if he had limited
the piece to the audition it started out as. Mr. La Fosse's "Pride," set to music by C&C Music Factory with appropriately fabulous costumes by Karl Lucifeld, was a knock-'em-dead finale, complete
with mirror ball and gold curtain. But less naïve nose-thumbing would have made "Pride" even more fun.
The dynamic lead cast was completed by Paul Matteson and Stephanie Liapis.
July 17, 2001
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