Dance Guide

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Elisa Badenes and Friedemann Vogel in “Mayerling” by Kenneth MacMillan. Photograph credit: Stuttgart Ballet

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REVIEWS | Karen Hildebrand

In the Wake of Yes

The title of Catherine Tharin’s latest production, “In the Wake of Yes,” is a reference to “Molly Bloom’s Soliloquy,” an inner monologue on womanhood and sexuality, from James Joyce’s Ulysses. Tharin matches the tone of this work as she picks up on an exuberant string of “yeses” from that text. Her witty series of dances explores romance and its complications. At the center of the show is a film by Lois Robertson that lifts the dancers out of the tiny East Village stage and transports them (and us) to scenes of contemporary New York City. Tharin, who danced with the...

REVIEWS | Rebecca Deczynski

Character Act

Through its newly opened program, “Other Dances,” Dutch National Ballet kicks off the summer with a slate of lighthearted fare that varies in precise approach but altogether evokes an effervescent mood.

REVIEWS | Gracia Haby

Requiem for Humanity

Taking the historian’s long view, the message within “Last and First Men,” that “the whole duration of humanity, its evolution, and many successive species, is but a flash in the lifetime of the cosmos,” is, to me, ultimately a comfort.

REVIEWS | Victoria Looseleaf

For the Muses

While the ghosts of, among others, Judy Garland, Jack Benny and the cast of “All in the Family” might be haunting Television City’s soundstage 33 in Los Angeles, the dancers of American Contemporary Ballet (ACB), took metaphoric flight on Thursday when they performed the world premiere of, “The Euterpides.”

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Featured

In the Wake of Yes

Character Act

Requiem for Humanity

For the Muses