What the audience could expect at “Cry Why” – Munich

It is a furious pas de deux. Guido Badalamenti spins around in circles with a piano, at breakneck speed, each taking advantage of the other's flying power. The piano on its smooth transport wheels. The dancer with one foot in an inline skate trimmed for absolute agility. It is an absurd image that pushes dancers and spectators to their limits. What if this box, weighing several hundred kilograms, gets out of hand, thunders through the room, or even hits someone? It holds. Speed ​​and weight keep dancers and piano in balance. And at this point it becomes clear: when choreographer Moritz Ostruschnjak announces a new piece with live music, it means more than just a pianist playing live to the dance.