The fourth, and final, of this year’s Wavelengths shorts programs returned to the curatorial logic of the opening night, bringing together half a dozen disparate sensibilities based on formal, rather than thematic, common ground—in this case, their shared interest in performance. With one exception, the coherence here was more immediate than in the first slate’s buried interest in image production, though the styles of performance deployed across these works bear little resemblance to one another.  The program began with Zachary Epcar’s Billy, a quick, cool sip of Michael Robinson-aid recounting the domestic unease experienced by its eponymous male lead (Peter […]