From the back of the stage, a single searchlight points in the direction of the audience, and as it does, it sweeps across the forms of seven dancers in Stephanie Lake’s “Seven Days.”
Martha Graham said that “movement never lies”—but what of stillness? For NYC Dance Project’s latest book, Martha Graham Dance Company: 100 Years, photographers Ken Browar and Deborah Ory set out to explore Martha Graham’s legacy through photos.
“Are we cancelled now?” James Jordan queries mischievously, eyes shining. He’s just made some chancy quips regarding recent Strictly Come Dancing controversies, alluding rather than directly addressing the issues. “We were the good boys on all of our series,” he insists.
I make my way up the stairs at the Substation. Along all four sides of the large room, rows of seats are arranged. Event warning: sudden loud noises. Content warning: death. I find a seat along the long side wall, with my back to the window.
Over the span of two weeks, New York City Center’s Fall for Dance Festival brought to its storied stage a wide range of performers from across the globe with different disciplines, perspectives, and movement vocabularies. Its fifth and final program reiterated what it’s all about: exploring, and celebrating, all the...
I make my way up the stairs at the Substation. Along all four sides of the large room, rows of seats are arranged. Event warning: sudden loud noises. Content warning: death. I find a seat along the long side wall, with my back to the window.
Martha Graham said that “movement never lies”—but what of stillness? For NYC Dance Project’s latest book, Martha Graham Dance Company: 100 Years, photographers Ken Browar and Deborah Ory set out to explore Martha Graham’s legacy through photos.
From the back of the stage, a single searchlight points in the direction of the audience, and as it does, it sweeps across the forms of seven dancers in Stephanie Lake’s “Seven Days.”
“Are we cancelled now?” James Jordan queries mischievously, eyes shining. He’s just made some chancy quips regarding recent Strictly Come Dancing controversies, alluding rather than directly addressing the issues. “We were the good boys on all of our series,” he insists.
At a time when the arts in America are under attack and many small dance companies are quietly disappearing, San Francisco’s dance scene—for decades second in its volume of activity...
Performance
“The Axe: a long line of broken white people,” by Alley Wilde; Eight/Moves Season 2, choreography by Mia J. Chong and Tsai Hsi Hung
Place
CounterPulse, San Francisco CA, September 11, 2025; ODC Theater, San Francisco CA, September 12, 2025
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Noé Soulier enters the space without warning, and it takes a few seconds for the chattering audience to register the man now standing before them, dressed simply in a grey t-shirt and black pants, barefoot.
“Was it Benjamin Franklin, that sagacious and witty man, who, on signing the Declaration of Independence that hot July day in 1776, admonished his colleagues that they had better hang together lest they all hang separately?
Over the span of two weeks, New York City Center’s Fall for Dance Festival brought to its storied stage a wide range of performers from across the globe with different...
Performance
Fall for Dance Festival: Program 5 - Stuttgart Ballet “Three for Hans” / “...and, or…” by Jyun-Yi Lin and Wei-Ting Hung / Alvin Ailey American Dance Theater “Grace” by Ronald K. Brown
Place
New York City Center, New York, NY, September 2025
Program Four of the 22nd annual Fall for Dance Festival opened with an odd expression of gratitude: “thank you for going through all that you went through to get here,” Michael S. Rosenberg, the President and CEO of New York City Center, told the crowd. The 80th session of the UN General Assembly had shut down much of midtown (even to pedestrians), including the block of 55th street that is home to City Center.
Recently, I came across a video of a woman having a meltdown at an American Football game. The details are unclear of what exactly went down, but the short clip of this young woman screaming ‘fuck off!’ to the person filming her while being restrained by her parents has garnered millions of views and thousands of derisive comments.
As Martha Graham so succinctly put it, “The body says what words cannot.” Such was the case when Butoh master Oguri, his wife Roxanne Steinberg, Spanish-born Andrés Corchero and Chinese movement artist Mao, talked up a metaphorical storm in a dance performance with three crack musicians at the Electric Lodge over the weekend.
The New York City Ballet’s fall season opened with a nicely varied all-Balanchine program. The man had range. The peasant campiness of “Donizetti Variations” led right into the romantic tremolos of “Ballade,” and his abridged version of the dramatic juggernaut “Swan Lake” followed the lone intermission.
When viewing any work of art, patience may be a necessity, rather than a virtue alone. At least, in New York City Center’s second program for its annual Fall for...
Performance
Fall for Dance Festival: Program 2: Clare Furey/Bent Hollow in “Dog Rising” / Lil Buck and Dévone Tines' “Resurrection” / Hubbard Street Dance Chicago in “Impasse” by Johan Inger
Place
New York City Center, New York, NY, September 19, 2025
At a time when masked ICE thugs are conducting raids up and down California, and the Supreme Court has just decreed the US government can continue arresting people based on the color of their skin, it was entirely appropriate that Rogelio Lopez’s new show opened with a voice over acknowledgement of the “horrors” besieging America’s Latino communities.
There’s a dash of madness and oodles of heart in this 2022 dance theatre work from the choreographer Michael Keegan-Dolan, who takes us on a whistlestop tour through his biography, including his childhood in 1970s Dublin and his breakthrough years as a dancer (and eventual dancemaker) in ‘90s London.
According to her program notes, Sharon Chohi Kim was inspired by murmurations—“both spontaneous flocks of starlings and a collection of low, continuous sounds”—in her premiere (one-night only) of the same name.
We enter the cavernous Wade Thompson Drill Hall of the Park Avenue Armory to an oblong stage area flanked by seating on the long sides, emulating the sightline of Anna...
Performance
“Monkey Off My Back or the Cat’s Meow” by Trajal Harrell
Place
Wade Thompson Drill Hall, Park Avenue Armory, New York, NY, September 12, 2025
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