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Dancing with You
REVIEWS | Karen Hildebrand

Dancing with You

The stage is strewn with potatoes. Single straight back chair, overturned. A canteen. At center is a life scale charcoal sketch, unframed on canvas. It looks like a human figure topped by a dark smudge of a head—the shape calls to mind a famous work of Gustav Klimt. 

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Fifth Avenue Blooms
REVIEWS | Faye Arthurs

Fifth Avenue Blooms

How long is their nap?” my three-year-old asked about halfway through the Trisha Brown Dance Company’s performance of “Group Primary Accumulation,” a 20-minute supine dance for four.

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They Were There
BOOKSHELF | Candice Thompson

They Were There

In her new biography, The Swans of Harlem, journalist Karen Valby is witness to the testimony of five pioneering Black ballerinas intimate with the founding history of Dance Theatre of Harlem. 

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Level Up
REVIEWS | Rachel Howard

Level Up

Sacramento Ballet executive and artistic director Anthony Krutzkamp dresses sharp and gives a memorable pre-curtain speech. The way he tells it, the Central California company was in rehearsals for “Swan Lake” last year when he realized he faced an enviable problem: the dancers were too good for the ballets he’d programmed under a five-year plan. 

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The Joy of Dance
INTERVIEWS | Victoria Looseleaf

The Joy of Dance

If one wants a glimpse of Joy Womack’s rock-star like schedule, take a look at her Instagram account. One day she might be dancing in Paris—her current home base—another day it’s Florence, then it’s Lagos, Guayaquil, and Melbourne.

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Sundays on Broadway
FEATURES | Cecilia Whalen

Sundays on Broadway

This year marks the tenth anniversary of Cathy Weis' “Sundays on Broadway,” a performance series that welcomes experimentation from a curated group of seasoned and emerging artists hosted intimately in Weis’ SoHo loft. 

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Divas and Devisers
REVIEWS | Faye Arthurs

Divas and Devisers

Though the New York City Ballet’s Spring Gala featured two premieres, the real buzz of the season belonged to the revival of Balanchine’s “Tzigane”—now titled the more politically correct “Errante”—after a 30-year absence. 

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Pioneering Women
FEATURES | Karen Hildebrand

Pioneering Women

My first exposure to “Appalachian Spring” was the music—a sixth grade fieldtrip to the Denver Symphony Orchestra—long before I heard about Martha Graham. 

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And Then, Now
REVIEWS | Candice Thompson

And Then, Now

An enduring image from Jody Oberfelder’s new site-specific dance “And Then, Now,” is of the lithe, 70-year-old choreographer perched up on a tall hill at Green-Wood Cemetery in Brooklyn, framed by enormous trees and an expansive blue sky.

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Mixed Messages
REVIEWS | Cecilia Whalen

Mixed Messages

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”). 

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Figure Eights
REVIEWS | Gracia Haby

Figure Eights

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...

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Spring Dances
REVIEWS | Victoria Looseleaf

Spring Dances

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. 

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