Eye Candy
’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
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The Dance Theatre of Harlem returned to City Center this week for the first time under the leadership of Robert Garland, a former company dancer, school director, and resident choreographer. This was the launch of an exciting new beginning, though the troupe was simultaneously celebrating its past. This year marks company’s 55th anniversary as well as what would be the 90th birthday of founder Arthur Mitchell, who passed away in 2018. Mitchell, the first Black principal in a major American dance company (the New York City Ballet), sought to “take young people off the streets and get them involved in the arts”—as Zita Allen quotes in a terrific program article. For his artistic directorial debut, Garland brought a well-curated quartet of works that made for a balanced and uplifting evening—the kind of show that leaves you smiling when you exit. Though his own choreographic entry was the slightest in the lineup, it’s clear that Garland understands Mitchell’s lofty, activist mission.
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’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
FREE ARTICLELike two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
Continua a leggere“I can’t even stand it,” exclaimed Tina Finkelman Berkett about the Perenchio Foundation grant that her dance troupe, BodyTraffic, recently received.
Continua a leggereBeneath a tree also over a century old is where I meet dancer and artist Eileen Kramer, and where the 60-minute loop will end. And it feels fitting, on the heels of her recent death on November 15, 2024, at 110-years-of-age, to start here, at effectively the end of Sue Healey’s screening of On View: Icons.
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