Monday, March 31, 2025
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.
SOURCE: The New York Times Subscription at 05:00AMThursday, March 27, 2025
Vallejo Gantner, a longtime arts administrator in New York City, has taken over as artistic and executive director at PS21 in Chatham, N.Y.
SOURCE: The New York Times Subscription at 12:00PMWednesday, March 26, 2025
On a program with three New York premieres, the company seems stuck in an international style, though there are flickers of something more distinctive.
SOURCE: The New York Times Subscription at 12:48PMMonday, March 17, 2025
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.
SOURCE: The New York Times Subscription at 01:42PMThursday, February 27, 2025
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.
SOURCE: The New York Times Subscription at 03:43PMWednesday, February 5, 2025
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.
SOURCE: The New York Times Subscription at 12:44PMSunday, January 12, 2025
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.
SOURCE: The New York Times Subscription at 05:07PMWednesday, December 11, 2024
Once-in-a-generation ballerinas, topical works that transcended politics and a voguing “Cats” were highlights of the year.
SOURCE: The New York Times Subscription at 05:02AMMonday, December 9, 2024
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.
SOURCE: The New York Times Subscription at 03:39PMThursday, November 21, 2024
Mack, director of the dance division at Juilliard, will be the popular company’s fourth artistic director.
SOURCE: The New York Times Subscription at 04:58PMFriday, November 15, 2024
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.
SOURCE: The New York Times Subscription at 12:29PMMonday, November 11, 2024
At the Brooklyn Academy of Music, the highlight of Dana Gingras’s “Frontera” may well be the lighting design.
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She became an international star as a member of the company and later directed it, guiding it out of debt and boosting its popularity.
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At the Brooklyn Academy of Music, Bill T. Jones’s “Still/Here” returns, free of the AIDS-era context in which it premiered.
SOURCE: The New York Times Subscription at 12:42PMTuesday, October 29, 2024
“Why can’t ballet be a roller coaster?” Helen Pickett said of her and James Bonas’s full-length work, premiering this week at American Ballet Theater.
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The Paul Taylor Dance Company joins a very short list of dance troupes with substantial real estate in one of the world’s most expensive markets.
SOURCE: The New York Times Subscription at 05:03AMFriday, October 25, 2024
The choreographer Nadia Beugré, who brought her “Quartiers Libres Revisited” to New York Live Arts, likes to keep her audience close. And involved.
SOURCE: The New York Times Subscription at 01:03PMThursday, October 24, 2024
At the Baryshnikov Arts Center, an adaptation of Smith’s poem-memoir “Woolgathering” features Smith reciting, others dancing and a surprise guest.
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The Greek-born choreographer Lenio Kaklea made her American debut at Governors Island, a fitting spot for work about the boundaries between nature and culture.
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Osvaldo Golijov’s opera about Federico García Lorca makes its Met debut in a dance-heavy production, directed by the choreographer Deborah Colker.
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