On Sunday, May 31, 2026, I found myself in Hawthorne California, next to an Ashley Home Furniture store, in a toy factory warehouse. A site that is unassuming to be a venue for high caliber dance performance, Isabella Caso founded Los Angeles’ newest performance venue, KUNSTHAUS. Seated in the round, surrounded by floor to ceiling shelves of cardboard boxes, audience goers bustle with anticipation for the first ever evening length work of Mike Tyus and Luca Renzi’s “Acts Of Faith.”
Dancers and collaborators Sage Beryl, Donny Collinson, Jordan Plange, Santiago Villarreal, Austin Tyson, and Jane Zogbi enter the space in powerful silence. In this moment, the dancers take a pregnant pause to look out into the audience. An invitation to witness and an acknowledgement that they are seeing us see them. With a dramatic hit of a dancers’ foot on the floor, live musicians Distant Cowboy and Ty Rex sent the ethereal sounds of the cello and piano into the landscape of performance.
Titled “Collapse,” the first section offered the tenderness of what it means to fall into someone both physically and metaphorically. The dancers’ use of complete abandon and efficiency were evident as they seamlessly moved through the mechanics of partnering, using the natural creases and folds of their evidently strong bodies to move and launch one another through space. The dancers’ exquisite technicality paired with the intelligent choreographic thread truly personified the show’s title, “Acts of Faith.” To have faith, one must find the ability to rely on someone or something. These dancers alluded to the notion that abandon is essential to faith. A powerful message that was clear from the start.
Acts of Faith – (L-R) Donny Collinson, Jordan Pange and Jane Zogbi in “Loss of Meaning” – Choreography by Mike Tyus and Luca Renzi – Photo by Josh Rose.
The transition between pieces are notably seamless as suddenly a chair and bouquet of flowers are a part of the scene and only two dancers are left to navigate a new idea: the faithful act of begging for someone’s adoration. I applaud the dancers’ performance quality and Tyus’ and Renzi’s direction of this piece, as it could easily have become slapstick-esque. Instead, the simple demeaneur shifts and use of physicality spoke to the nature of the piece without over dramatizing a storyline. Dancers began to enter and exit this scene, a rotating role that became more physicalized and athletic as it went on which spoke to the desperation of wanting to be seen or chosen by whomever sat meekly in front of them.
Before the final piece in the first act, Luca comes out and begins rattling off various pioneers of contemporary dance such as Pina Bausch, Bill T. Jones, Martha Graham, and so on. He speaks to the inspiration that these artists have provided to him, and that the next work was a tribute to the people who take risks in the arts. Titled “Loss of Meaning,” three dancers enter the space wearing very classical modern dance unitards, a distinct difference from the previous pedestrian costuming that came beforehand. The work certainly took inspiration from the legends previously mentioned as the dancers flawlessly performed with precision and seemingly never ending lines. Although this trio felt like a sudden and stark contrast to the aesthetic of what had been presented beforehand, the purpose of the trio felt important to the evening as it honored the artists who paved the way by taking their very own acts of faith.
Acts of Faith – Austin Tyson in “Lovely Appearance of Death” – Choreography by Mike Tyus and Luca Renzi – Photo by Josh Rose.
After a brief intermission, the second act began with a piece titled “Lovely Appearance of Death.” A long, red rug was rolled out at a diagonal across the stage. Physical symbolism of prayer, bowing down, or surrender was evident in this trio. A stunning image of a soloist on the rug being slowly dragged offstage in a “magic carpet” moment, was highlighted by the lighting and technical design by Alex Lemus who enhanced the dancers, choreography, and venue stunningly throughout the evening.
Acts of Faith – (L-R) Donny Collinson, Santiago Villareal in “Holy” – Choreography by Mike Tyus and Luca Renzi – Photo by Josh Rose.
Following this work was an intimate and powerful duet that I had previously reviewed in 2023 titled “Holy.” I was thrilled to have the opportunity to see this work again as it is a piece that I’ve held with me ever since as it’s not just impressive physically, but a testament to the power of being brutally human onstage. Performed completely nude, two men dance in glorious synchronicity, highlighting the power of being vulnerable enough to bare oneself completely to another person. This piece is a strong example of how if used intentionally, nudity, sexuality, and intimacy can be used to create relatable and honest work.
The duet ended with just one of the dancers, lying on stage. And in a seemingly epilogue of the duet, the final piece titled “Wash” began as a dancer dressed in a suit entered and cleansed the body left behind. With a bucket and towel, the dancer took tender care to assist the limp body and cleanse him from what had happened beforehand as if in reference to a baptism or a preparation of the dead. This final moment was simple in physicality, but complex in humanity which ultimately brought me to tears.
It was a great honor to be in attendance for the opening of KUNSTHAUS, an innovative and non-traditional performance venue with the potential to transform how dance is seen in Los Angeles. “Acts of Faith” by Mike Tyus and Luca Renzi was a transformative performance, and potentially one of my favorite shows I’ve seen in Los Angeles thus far.
For more information about KUNSTAHAUS, please visit their website.
Written by Rebecca Lee for LA Dance Chronicle.
Featured image: Acts of Faith – Santiago Villarreal (on floor) and Austin Tyson in “Wash” – Choreography by Mike Tyus and Luca Renzi – Photo by Josh Rose.
