World-class review of ballet and dance.
I’d nearly forgotten the many pleasures of watching dance from a folding chair on a riser in a SoHo loft, sound of sirens and traffic rising from the street outside to compete with the more subtle notes of a cello.
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Ola Maciejewska’s “Bombyx Mori” is the second hour-long work in the “Dance Reflections” festival I’ve seen so far. Is this a new trend in European dance, I wonder?
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American Ballet Theatre’s fall season has been brief, too brief to form a sense of the new director Susan Jaffe’s tastes and intentions.
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In Sankai Juku's “Kōsa,” bodies don't just speak, they echo. Movement is generated on dancers then released into the air.
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Every human dreams of flying at some point. We watch the birds and imagine ourselves soaring above the landscape.
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“What is dance?” is a question posited by postmodern choreography, and postmodern choreographers generally seek to answer it through means as far away from conventional notions of dance as possible.
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To consider (La)Horde is to contemplate cool. The French collective is made up of artists Marine Brutti, Jonathan Debrouwer, and Arthur Harel.
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What’s that you see out of the corner of your eye? Is the painting . . . moving? In Florence Peake’s “Factual Actual,” the artist and her collaborators break down the boundaries between inanimate objects and living people with calm assurance and a dash of whimsy.
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Think Sankai Juku on steroids, or a sort of fractured Sufism where spinning does rule, but in the über-darkness of night.
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“States of Hope,” is a clever way to describe the conflicting internal voices that Hope Boykin brings to life in her new dance memoir that premiered at the Joyce in New York.
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For the first season fully programmed by its new artistic director Susan Jaffe, American Ballet Theatre has chosen to look back and, in a sense, shop its own closet.
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This fall, Bjayini Satpathy has returned to New York to present what she has been developing in her home studio just outside of Bangalore in India.
Continua a leggereTwo performers crawl in on hands and knees wearing neon green, hooded coveralls—the lightweight papery kind made for working in a sterile environment—and clusters of balloons pinned to their backs.
Continua a leggereWill Rawls makes boundaries visible by defying them. Known for the disciplinary and topical range of his projects, the choreographer, director, and performer approaches issues of representation in “[siccer],” a multi-part, multi-site work co-presented by L’Alliance New York’s Crossing the Line Festival. A live performance at Performance Space New York...
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It is always interesting when multiple theme steps emerge over the course of a mixed repertory evening, but it is uncanny on one featuring five different ballets, each with a different choreographer and composer, covering a twenty-year span (2005-2025).
Continua a leggereZvidance premiered its new work “Dandelion” mid-November at New York Live Arts. Founded by Zvi Gotheiner in 1989, Zvidance has been a steady presence in the New York contemporary dance scene, a reliable source of compositional integrity, and a magnet for wonderful dancers.
Continua a leggereCleveland native Dianne McIntrye received a hometown hero's welcome during her curtain speech prior to her eponymous dance group thrilling the audience in her latest work, “In the Same Tongue.”
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