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After years of friendship and collaboration, Aaron Marcellus is writing the music for a new dance by Michelle Dorrance, his former tap teacher.
After a few slow, sad years, the dance calendar returned to something like abundance, with standout shows that leaned into joy and community.
The contemporary ballet company, whose chief choreographer is Dwight Rhoden, presented dances at the Joyce Theater that felt like more of the same.
Judith Sánchez Ruíz, a former dancer in the company, has been commissioned to make its first work not by Brown.
Jennifer Weber has two shows opening on Broadway, “&Juliet” and “KPOP,” and her “Hip-Hop Nutcracker” is coming to Disney+.
Vanessa Anspaugh’s dance “Mourning After Mornings” discovers and creates its own logic, mixing humor with grief.
Jennifer Tipton, whose job usually entails serving the vision of choreographers and directors, has made her own show, the installation “Our Days and Night.”
The Brazilian troupe Lia Rodrigues Companhia de Danças makes its New York-area debut with “Fúria” as part of Montclair State University’s Peak Performances series.
Originally a virtual production earlier in the pandemic, this live version features an improvised duet between Casel and the pianist Arturo O’Farrill.
In “Unavailable Memory” at Baryshnikov Arts Center, dance artists fill in gaps in the choreographic record, but they don’t all speak fluent Cunningham.
There were egos and clashes, but the choreographer and painter made 16 dances together over more than 50 years, work spotlighted in the Taylor company’s season.
Niall Jones’s “Compression” at Performance Space New York asks that you adjust to the absence of the expected and tune into a different wavelength.
The choreographer Gisèle Vienne aims to open the doors of perception and bend our experience of time in “Crowd,” at the Brooklyn Academy.
Mark Morris’s “The Look of Love” is set to Bacharach songs. “People are always saying, ‘Oh my God, he wrote that?’ That’s why I’m doing it,” Morris said.
For her piece at Madison Square Park, Beau Bree Rhee has come up with a term, “climate change bodies,” but not a dance vocabulary that expresses that idea.
In Kimberly Bartosik’s “The Encounter,” young performers and professional dancers navigate a world in turmoil, looking for a way out.
After a complicated journey to New York, Malpaso made it to the Joyce Theater with a program that showed it trying on various styles.
DorkyPark’s “Open for Everything,” coming to the Brooklyn Academy, is mostly light and playful, energized by Roma musicians.
Seán Curran Company and Darrah Carr Dance present “Céilí,” a pleasant show that doesn’t break much new ground.
This 2011 work by the American-born, Europe-based choreographer Meg Stuart feels overextended.
In “Burn,” a one-man dance-theater work, Alan Cumming tries to reveal the inner life of the Scottish poet Robert Burns.
The choreographer and performer Nora Chipaumire’s new six-hour work at the Alexander Kasser Theater invokes ancestral spirits.
At N.Y.U. Skirball, an exploration at the edges of beauty and death, with touches of Wagner.
Audio descriptions are one path into this disability arts ensemble’s show. In some ways, these mirror the critic’s job: putting dance into words.
During a renovation of its Chelsea space, the Kitchen will move to Westbeth, which houses artists, the Martha Graham company and much avant-garde history.
The company, a keeper of the great British choreographer Frederick Ashton’s flame, has brought a pleasant and slight program to the Joyce Theater.
With a score by the innovative electronic musician Jlin, Abraham’s dance has beautiful skeins of motion but lacks cohesive structure.
A jazz trio and three other dancers join Dormeshia for a classy, classic program filled with swing.
At Ragamala Dance Company’s nature-themed performance at BRIC Celebrate Brooklyn!, the strongest connection was between music and dance, our critic writes.
Michelle N. Gibson brings her one-woman show exploring the origins of New Orleans second line, “Takin’ It to the Roots,” to Jacob’s Pillow.
Her new dance at Bard, a collaboration with the composer David Lang, is a refined, restrained and sometimes breathtaking response to the biblical poem.