For the third year in a row, five of New York City's most iconic dance companies—Ballet Hispánico, Alvin Ailey American Dance Theater, American Ballet Theatre, New York City Ballet, and Dance Theatre of Harlem—joined forces for for the BAAND Together Dance Festival, hosted by Lincoln Center. Photographed by Steven Pisano.
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Alexa Maxwell of New York City Ballet and Antonio Cangiano of Ballet Hispánico perform in the world premiere of Pedro Ruiz’s “Pas de O’Farrill”
Ballet Hispánico in “Línea Recta” by Annabelle Lopez Ochoa
Dylan Dias McIntyre and Amanda del Valle perform in Annabelle Lopez Ochoa’s “Línea Recta”
Antonio Cangiano, Dylan Dias McIntyre, Omar Rivéra, and Leonardo Brito perform in Annabelle Lopez Ochoa’s “Línea Recta”
Antonio Cangiano, Omar Rivéra, and Gabrielle Sprauve perform in Annabelle Lopez Ochoa’s “Línea Recta”
Dance Theatre of Harlem in “Nyman String Quartet No. 2” by Robert Garland
Dance Theatre of Harlem in “Nyman String Quartet No. 2” by Robert Garland
Micah Bullard, Kouadio Davis, David Wright of Dance Theatre of Harlem in “Nyman String Quartet No. 2” by Robert Garland
Kamala Saara and Alexandra Hutchinson of Dance Theatre of Harlem in “Nyman String Quartet No. 2” by Robert Garland
American Ballet Theatre's Gillian Murphy and Aran Bell in “Other Dances” by Jerome Robbins
Alvin Ailey American Dance Theater in excerpt of “Dancing Spirit” by Ronald K. Brown
Constance Stamatiou and Yannick Lebrun in excerpt of “Dancing Spirit” by Ronald K. Brown
Constance Stamatiou and Yannick Lebrun in excerpt of “Dancing Spirit” by Ronald K. Brown
Constance Stamatiou in excerpt of “Dancing Spirit” by Ronald K. Brown
Steven Pisano
Steven Pisano is a performing arts photographer who works in New York and Philadelphia. His photographs have appeared in the New York Times, Washington Post, Dance magazine, Opera News, Feast of Music, Broadway World, and other online and print outlets featuring dance, opera, theater, and music.
comments
Beverly
I missed it this year. I was supposed to go on one of the days that the performance was canceled due to the extreme heat. I was so disappointed.
Jukebox musicals tend to come in two packages. The first centers a celebrity musician or musical group and uses the subject's body of work to tell a biographical narrative (“Carole King,” “The Temptations,” “The Four Seasons”).
I may never know what it is like to be an octopus, but I can begin to imagine what it might be like if I was an octopus.[1] Equally, I may never know what it is like to be a dancer, and someone who communicates with their body, but, thanks to a special in-house showing of Prue Lang’s work-in-progress, “Poesis,” as part of her Australian Ballet’s residency program,[2] I can imagine what it might be like if I were. And so it was, that I found myself once more, in the late afternoon, in the van Praagh studio, of the Primrose...
It was a tri-polar night—but in a good way—last weekend, with a trio of high-energy, beautifully crafted works performed by the spectacular members of L.A. Dance Project.
On a mild spring night, the New York City Ballet held a similarly temperate Gala performance. The flower arrangements were lovely, the speeches were okay, the two premieres weren’t bad, and the Balanchine excerpt was sturdy. In almost every way, it was an enjoyable—if not overly momentous—night at the ballet.
I missed it this year. I was supposed to go on one of the days that the performance was canceled due to the extreme heat. I was so disappointed.