World-class review of ballet and dance.
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.
Moreso than many Balanchine offshoot companies, the Dance Theater of Harlem—founded by the New York City Ballet principal dancer Arthur Mitchell in 1969—keeps the Balanchine ethos at the forefront of its programming.
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Artistic Director Miyako Yoshida’s “Giselle” for the National Ballet of Japan excavates emotional freshness within the familiar landscape of the 1841 Romantic classic.
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At a baseline, good art should move you. At its peak, it can change you. I did not expect to come out of Ririe-Woodbury Dance Company’s season closer, Re-Act, a changed person, but that’s exactly the effect the performance—and particularly one work, Daniel Charon’s “From Code to Universe”—had on me.
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The body as vessel; the body as memory container; the body as truth-teller. All of these corporeal permutations were on view at the UCLA Nimoy Theater last Thursday, when Eiko Otake and Wen Hui performed their haunting, elegiac and deeply meaningful work, “What is War.”
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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.