Michelson's

In Michelson's theater, layer upon layer of obsessive theory and technique, danced methodically and diligently out in the duet between Mary and Jesus, melts away in Eve's bounding rocket across the stage, aerobic and unending, eyes and movements pointing ever upward, overflowing with the lightness of the beginning of the world.

Selby Drummond: Half-way Between Gesture and Thought: Choreographer Sarah Michelson's "Devotion" Selby Drummond 2011

But much of that work is highly purist, and one consequence of Michelson's casting choice is the way in which it undermines the notion of Modern Dance as sacred.

Selby Drummond: Half-way Between Gesture and Thought: Choreographer Sarah Michelson's "Devotion" Selby Drummond 2011

Officers went to Robert Michelson's house and seized a small amount of marijuana and drug paraphernalia.

Russ Belville: The Top Ten "Stupid Stoner Stories" of 2011 Russ Belville 2012

The particular genius of Devotion along with Michelson's more generalized genius, also on display lies in its ability to be at once willfully overloaded with theme, reference, the canon, history, argument, and rebellion, and to simultaneously dissolve each of their claims to defining the meaning of the work.

Selby Drummond: Half-way Between Gesture and Thought: Choreographer Sarah Michelson's "Devotion" Selby Drummond 2011

Officers went to Robert Michelson's house and seized a small amount of marijuana and drug paraphernalia.

Russ Belville: The Top Ten "Stupid Stoner Stories" of 2011 Russ Belville 2012

It is rather surprising, though, that Mr. Stein makes no mention of the event in 1983 that set a seal on Michelson's obsession.

Our Constant Companions Brian Clegg 2011

Officers went to Michelson's house and seized a small amount of marijuana and drug paraphernalia.

Man Who Asked Cops If He Could Grow Weed Arrested AP 2011

Officers went to Michelson's house and seized a small amount of marijuana and drug paraphernalia.

Man Who Asked Cops If He Could Grow Weed Arrested AP 2011

I felt very enlightened, especially, by Richard Michelson's comment on my blog.

Who Can Win What? Roger Sutton 2009

The first piece, Sarah Michelson's The Hangman, is an enigmatic, rigorously detailed collage of outtakes from the work of Balanchine, Paul Taylor, Trisha Brown and others, while Emanuel Gat's In Translation is a fluid, kinetic and very slightly dull abstract.

Move: Choreographing You; Renditions Luke Jennings 2010