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Words of Meaning
REVIEWS | Karen Hildebrand

Words of Meaning

The title of Catherine Tharin’s latest production, “In the Wake of Yes,” is a reference to “Molly Bloom’s Soliloquy,” an inner monologue on womanhood and sexuality, from James Joyce’s Ulysses. Tharin matches the tone of this work as she picks up on an exuberant string of “yeses” from that text. Her witty series of dances explores romance and its complications. At the center of the show is a film by Lora Robertson that lifts the dancers out of the tiny East Village stage and transports them (and us) to scenes of contemporary New York City. Tharin, who danced with the...

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Character Act
REVIEWS | Rebecca Deczynski

Character Act

Through its newly opened program, “Other Dances,” Dutch National Ballet kicks off the summer with a slate of lighthearted fare that varies in precise approach but altogether evokes an effervescent mood.

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Requiem for Humanity
REVIEWS | Gracia Haby

Requiem for Humanity

Taking the historian’s long view, the message within “Last and First Men,” that “the whole duration of humanity, its evolution, and many successive species, is but a flash in the lifetime of the cosmos,” is, to me, ultimately a comfort.

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For the Muses
REVIEWS | Victoria Looseleaf

For the Muses

While the ghosts of, among others, Judy Garland, Jack Benny and the cast of “All in the Family” might be haunting Television City’s soundstage 33 in Los Angeles, the dancers of American Contemporary Ballet (ACB), took metaphoric flight on Thursday when they performed the world premiere of, “The Euterpides.”

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Pure Moods
REVIEWS | Rebecca Deczynski

Pure Moods

“Into the Hairy”—the 45-minute ballet by choreographer Sharon Eyal and her creative collaborator Gai Behar—sets the tone immediately. Dancers dressed in arachnid-like unitards have a severe look, with black eye makeup that drips intensely down their cheeks, gothic and dramatic.

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All Together Now
REVIEWS | Rebecca Deczynski

All Together Now

Transformation is inevitable—and necessary in order to persist. That’s a theme that runs through two new works staged by Rotterdam’s Scapino Ballet in “Origin,” a program focused entirely on emerging choreographic talent. 

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A New Recipe
REVIEWS | Karen Hildebrand

A New Recipe

An apron-clad Marjani Forté-Saunders, spotlit on the steps of the St. Mark’s Church sanctuary, rocks from one bare foot to the other while swinging a brown paper bag, presumably filled with groceries.

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Partners in Sublime
REVIEWS | Rebecca Deczynski

Partners in Sublime

For the most dynamic performers, artistry is an embodied quality. Whether through natural aptitude or diligent training—or most often, a combination of the two—the performer transcends the physical, choreographed act of their composition to present something that lingers outside the boundaries of their form.

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Casting Carousel 
REVIEWS | Faye Arthurs

Casting Carousel 

The New York City Ballet mounted no premieres this spring, unless you count the stage adaptation of Kyle Abraham’s Covid lockdown film “When We Fell.” Instead, the company drummed up hype by packing the season with debuts in dances both newish and old.

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Dancing the Gods
REVIEWS | Karen Greenspan

Dancing the Gods

The annual Dancing the Gods Festival of Indian Dance celebrated its fourteenth and final year with a generous finale May 16-18. This final event extended for three evenings instead of the usual two.

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Marriage Rhyme
REVIEWS | Madelyn Coupe

Marriage Rhyme

Something old, something new, something borrowed, and something “Blue.” The premise of Australasian Dance Collective’s fortieth anniversary celebration stems from the traditional divisions of time.

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