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A New Performance Language
REVIEWS | Karen Greenspan

A New Performance Language

I walk into Roulette, a rough-around-the-edges world music venue, a couple of blocks from the Brooklyn Academy of Music (BAM). I am attending “Dambudzo,” presented as part of BAM’s Next Wave Festival, brought to the neighborhood by the bold imagination and creative enterprise of Zimbabwe performing artist Nora Chipaumire.

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Breakaway
REVIEWS | Karen Greenspan

Breakaway

A rehabilitated 117-year-old power plant situated on the Gowanus Canal in Brooklyn, once a toxic waste site, now houses an amazing new contemporary arts hub—Powerhouse Arts.

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An Evening of Horror
REVIEWS | Merilyn Jackson

An Evening of Horror

To say the least, the true story of a juvenile axe murderer seems unlikely to inspire a ballet. But the legends surrounding the late nineteenth-century murders of Lizzie Borden’s father Andrew and her stepmother, Abby persist, perhaps because Lizzie was ultimately acquitted, and no other suspect was ever identified or brought to justice.

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Breaking the Waves
REVIEWS | Eoin Fenton

Breaking the Waves

As October starts to draw to an end, so too does Dance Umbrella, London’s annual international dance festival. Having worked their way through the Barbican and Sadler’s Wells East, one of the final programmes is on at the Place—which has had an especially impressive Autumn season.

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Tip of the Hat
REVIEWS | Faye Arthurs

Tip of the Hat

This fall, the American Ballet Theatr is celebrating its 85th anniversary by highlighting the choreographers key to the company’s history. Agnes DeMille, Antony Tudor, Frederick Ashton, Michel Fokine, Marius Petipa, George Balanchine and Alexei Ratmansky are all featured, but only Twyla Tharp got her own night.

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On Love and Mortality
REVIEWS | Elsa Giovanna Simonetti

On Love and Mortality

What’s special about Rudi van Dantzig’s “Romeo and Juliet” is how deeply it is steeped in the textures of popular devotion and everyday life, reminiscent of Flemish painting in its chiaroscuro and crowded humanity.

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The Final Stage
REVIEWS | Gracia Haby

The Final Stage

Folded forward at the waist, knees pressed together, but with her feet apart, Rachel Coulson assumes bird-like form. With her legs held as if bound at the knees, she travels backwards. Arms extended away from her torso giving the impression of wings, she rotates her hands as if her feathery tips are taking readings of the environment around her. In the conjuring of shapes, of course a waterbird appears before my eyes. This is part two of DanceX, presented by the Australian Ballet, where Stephanie Lake Company’s “Auto Cannibal,” replete with Coulson’s bird-like solo, shares the stage with West Australian...

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Limón's New Look
REVIEWS | Karen Hildebrand

Limón's New Look

Limón Dance Company launches its 80th anniversary season with three works that represent the company’s past, present, and future. They not only celebrate José Limón, but demonstrate how his themes guide the company in fresh new ways.

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Dream Ballets
REVIEWS | Rebecca Deczynski

Dream Ballets

It’s hard to imagine a ballet quite as exquisite as Michel Fokine’s 1909 “Les Sylphides.” The white tutu piece, set to a score by Fredéric Chopin, introduced the world to the concept of a plotless ballet—and, in that, opened the door for every choreographer who was to come.

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