Monday, May 12, 2025
In the Tony-nominated musical “Operation Mincemeat,” five performers play a slew of roles. The choreography onstage and off is fast, elaborate and exacting.
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Jasperse’s engrossing “Tides” was a thrilling opener to a festival that often feels like a home for first drafts.
SOURCE: The New York Times Subscription at 02:01PM“Urban Stomp” at the Museum of the City of New York chronicles the metropolis’s social dance. It also invites you to join the party.
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On program of New York premieres at the Joyce Theater, Abraham’s contribution stands out and so do his dancers.
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Celia Rowlson-Hall’s “Sissy” at the Baryshnikov Arts Center, a dance-theater hybrid featuring Marisa Tomei, pokes at the boundaries between art and life.
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The Uptown Rhythm Festival will mix styles, including tap, swing and flamenco, that are flourishing despite problems of rehearsal and performance space.
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Robert Garland, the company’s artistic director, has created his first work for the dancers since taking over in 2023.
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At 99, the Graham company continues to grapple with the legacy of its founder with reimagined lost works and commissions.
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As part of its 50th anniversary, the East Village institution presents reimagined dances by Ishmael Houston-Jones and Fred Holland, Donna Uchizono and Bebe Miller.
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Vallejo Gantner, a longtime arts administrator in New York City, has taken over as artistic and executive director at PS21 in Chatham, N.Y.
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On a program with three New York premieres, the company seems stuck in an international style, though there are flickers of something more distinctive.
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Friday, March 14, 2025
In “Terrestrial: The Sprout,” at New York Live Arts, three directors present a show about epic memory and indescribable feelings.
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A program celebrating Twyla Tharp’s 60th year making dances features the masterwork “Diabelli” and the fresh new “Slacktide,” set to Philip Glass.
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Batsheva Dance Company’s performance of Ohad Naharin’s masterful “Momo” at the Brooklyn Academy of Music was inevitably colored by events in Israel and Gaza.
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Douglas Dunn + Dancers’ season at Judson Memorial Church in Manhattan includes a pastoral premiere and an experimental opera.
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“Tango After Dark” at the Joyce Theater feels like an extended nightclub floor show, low in imagination and musical subtlety.
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“Gigenis,” drawn from a tale in the Mahabharata, is the choreographer Akram Khan’s most potent work in years.
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Thursday, January 30, 2025
“Mystic Familiar,” a New York City Ballet premiere, has a score by the musician Dan Deacon and some all-too-familiar sentiments.
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The Out-Front! Festival at the Brooklyn Academy of Music on Saturday featured thrilling works by Angie Pittman (“Black Life Chord Changes”) and Kyle Marshall (“Joan”).
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At the Joyce Theater, Ragamala Dance presents “Children of Dharma,” an elegant production that lacks dramatic pop.
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651 Arts, dedicated to African diasporic performance, now has its own space to support work like the choreographer André Zachery’s “Against Gravity.”
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An oral history project, “Planting Seeds,” considers the history and impact of an American Dance Festival program to train dancers in China.
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Writing for The New Yorker, she was both admired and feared, wielding a sometimes merciless pen. Her study of Fred Astaire and Ginger Rogers drew accolades.
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Hope Boykin’s “Finding Free” and Lar Lubovitch’s “Many Angels” aspire to find higher ground at New York City Center.
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Once-in-a-generation ballerinas, topical works that transcended politics and a voguing “Cats” were highlights of the year.
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A solo by the choreographer Bintou Dembélé, the first showing of her work in the United States, explored the crossover between hip-hop and diasporic African ritual.
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Mack, director of the dance division at Juilliard, will be the popular company’s fourth artistic director.
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This Ralph Lemon work, part of a MoMA PS1 exhibition, is an experience of sound as much as dance. His collaborators can lead an audience to ecstasy.
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At the Brooklyn Academy of Music, the highlight of Dana Gingras’s “Frontera” may well be the lighting design.
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