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Motivation for Moving
INTERVIEWS | Lorna Irvine

Motivation for Moving

Petite in stature, with beautiful, delicate features, Scottish dance artist Suzi Cunningham is nonetheless a powerhouse performer: an endless shape shifter whose work ranges from eerie to strange, to poignant, or just absolutely hilarious.

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Aim True
REVIEWS | Victoria Looseleaf

Aim True

With his peerless vocabulary of postmodern abstract moves—or, as he’s called it, “gumbo style,” which blends Black dance with classical ballet techniques—Kyle Abraham, a 2013 MacArthur Genius grant awardee, has been making thought-provoking works for decades.

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The Right Way
REVIEWS | Rachel Howard

The Right Way

Can art save civilization? The question matters deeply to Brenda Way, who has dedicated her life to the arts in San Francisco.

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In Good Company
FEATURES | Eoin Fenton

In Good Company

At this year’s Resolution Festival in London, one of the city’s major events of the dance calendar, I found myself in a conversation about the state of affairs of dance internationally.

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Artistic Reintegration

Artistic Reintegration

While the television show Severance has been exploring the pitfalls of a complete division between people’s work and home lives, Sara Mearns’s recent solo show at New York City Center...

Performance

Sara Mearns: “Don't Go Home” by Mearns, Guillaume Côté, and Jonathon Young / “Dance is a Mother” by Jamar Roberts

Place

New York City Center, New York, NY, April 2025

Words

Faye Arthurs

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Call to Action
REVIEWS | Cecilia Whalen

Call to Action

Reggie Wilson's “The Reclamation” opens in a waiting room. The stage is bare, and one dancer wanders downstage alone, as if his number's been called.

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British Balanchine
REVIEWS | Phoebe Roberts

British Balanchine

The Royal Ballet, with their polite style and emphasis on purity of line, does not always make for the best interpreter of George Balanchine’s works.

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Pig Ghosts and the Irish Renaissance
INTERVIEWS | Eoin Fenton

Pig Ghosts and the Irish Renaissance

Oona Doherty is a choreographer that increasingly needs no introduction. The London-born Belfast native, who worked as a dancer across Europe, roared onto the scene as a choreographer with her solo work “Hope Hunt and the Ascension into Lazarus,” a searing examination of masculine culture that had the contemporary dance world abuzz.

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The Dancers Have It
REVIEWS | Sophie Bress

The Dancers Have It

In Ballet West’s most recent triple bill, which featured Jiří Kylián’s “Symphony of Psalms,” George Balanchine’s “Apollo,” and Nicolo Fonte’s “The Rite of Spring,” the dancers shone brighter than the choreographers.

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A Moving Prayer

A Moving Prayer

In 1982, Bebe Miller made her debut as a dancemaker when Ishmael Houston-Jones invited her into his Parallels series that featured Black choreographers who were experimenting in new forms.

Performance

Bebe Miller: “Vespers, Reimagined (2025)”

Place

Danspace Project, St. Mark’s Church in-the-Bowery, New York, NY, March 29, 2025

Words

Karen Hildebrand

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A Little Treasure
REVIEWS | Lorna Irvine

A Little Treasure

The bubble machine is the first thing that hits you as you enter. There are bubbles everywhere. The second is the energy—families with babies and small children are crammed into every corner, bringing a kinetic force to the auditorium. It's pandemonium—all going off like popcorn in a pan.

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No Gray Areas
REVIEWS | Merilyn Jackson

No Gray Areas

Programming, like staging and choreography, is an art, and Ángel Corella surpassed himself with all three in this early spring show featuring all new works.

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Extreme Feats
REVIEWS | Emily May

Extreme Feats

In some ways, dance could be considered an extreme sport: it meets many of the same criteria, featuring (at times) high speeds, significant risk, and the potential for severe injury. French choreographer Rachid Ouramdane seeks to reinforce this parallel in his new work “Outsider,” which received its UK premiere at Sadler’s Wells on March 26th as part of Dance Reflections by Van Cleef & Arpels.

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Dance Hall
REVIEWS | Emily May

Dance Hall

Have they started or are they just practicing?” asks a gentleman sitting in the row behind me. It’s a fair question: students from Rambert School of Ballet nonchalantly execute their own sequences of repeated movements as the audience filters in, taking their seats on all four sides of the vast performance space.

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Trajal Harrell, A Way of Moving

Trajal Harrell, A Way of Moving

In a career spanning almost 30 years, American dancer-choreographer Trajal Harrell has created a body of work borne of a rich imagination and an enquiring mind.

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Child's Play
REVIEWS | Kris Kosaka

Child's Play

Co. Un Yamada, a dance company and creative collective established in Tokyo in 2002, returned to the New National Theatre Tokyo last week to reprise their popular family-friendly production from 2021, “Obachetta.”

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Beauty Reawakens
REVIEWS | Elsa Simonetti

Beauty Reawakens

Vous les voyez, les étoiles dans la salle?” the woman next to me whispered as the lights dimmed. And indeed, the stalls glittered with former stars of the Paris Opéra Ballet—dancers I recognised, visibly moved and deep in conversation during the interval.

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A New Memory
INTERVIEWS | Candice Thompson

A New Memory

In 2017 Virginie Mécène reimagined the lost Martha Graham solo “Ekstatis.” A review from that Martha Graham Dance Company premiere ended with a strong vote of confidence from critic Gia Kourlas: “Ms. Mécène should keep going.”

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Arc of Life

Arc of Life

On one of the first spring-like days this year in NYC, I arrive at Barnard College to observe rehearsal for John Jasperse’s new piece, “Tides,” which will open the LaMama...

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