Sunday, June 4, 2023
Ballet Hispánico debuts two works: one about the 17th-century nun and poet Sor Juana Inés de la Cruz, and the other, “Papagayos,” featuring a supernatural hat.
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Mack, whom one student called an agent of change, wants to “create a place where people feel like themselves” — and a model for the professional world.
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The dancer, also known as HallowDreamz, is the face of krump in New York. Now he’s found another artistic home with the choreographer Andrea Miller.
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Two South Asian dance troupes, Nrityagram and Chitrasena, exemplars of different styles, team up for a program at the Joyce Theater.
SOURCE: The New York Times Subscription at 02:45PMIs theatrical choreography at a turning point? Or just leaping, lurching and shimmying as usual? Our critics weigh in.
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Friday, May 5, 2023
The spring gala featured premieres by the veteran Christopher Wheeldon and a newcomer, Alysa Pires. The surprise was the lack of contrast and risk.
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A premiere by Judith Sánchez Ruíz goes its own way but, like Brown’s work, shows an active, questioning mind and a sensual physicality.
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Shamel Pitts’s “Touch of Red,” at New York Live Arts, takes place in a boxing ring. It’s not a competition, though. It’s a relationship.
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A decade after its rebirth, the company is assured and radiant in a challenging Balanchine and a moody piece set to James Blake’s electronic soul music.
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The two premieres in the company’s two-week run at the Joyce Theater are by fledgling choreographers whose efforts don’t add much to Graham’s legacy.
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The choreographer Beth Gill’s “Nail Biter,” at the Fisher Center at Bard College, is absolutely deliberate but also mysterious.
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Atamira Dance Company’s “Te Wheke” at the Joyce Theater drops you into its world and trusts you can swim in it.
SOURCE: The New York Times Subscription at 12:36PMSchlenzka, who took the reins in 2017, presided over a rebranding and a new name for the organization — and an experiment in artist rule.
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Baras’s show, the only dance production in this year’s Flamenco Festival New York, was looser than usual, with soothing moments and good times.
SOURCE: The New York Times Subscription at 02:22PMWith a renovation, new studios and the return of dance to the Kaufmann Concert Hall, an institution once central to dance in New York invests in its future.
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Devoting his long life to dance, he was also a choreographer, an educator and an author, and was still onstage in his 90s.
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The company’s run at the Joyce Theater in Manhattan, featuring a premiere set to the soulful music of Bill Withers, is fun and clever in spots.
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“Blackbare in the Basement,” Jordan Demetrius Lloyd’s first evening-length commission, shows a distinct voice still developing.
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The New York debut of her performance “Lacks Criticality” coincides with an exhibition at the Whitney Museum that explores how artists have responded to Hurricane Maria.
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Batsheva Dance Company brings Naharin’s “Hora” to the Joyce Theater, showcasing his idiosyncratic, often-emulated style.
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“Life of Pi” and Laura Linney on Broadway, Lise Davidsen at the Met Opera, SZA on tour: Here’s what we’re looking forward to this season.
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Linda-Denise Fisher-Harrell, the Chicago troupe’s new leader, wants to expand the voices in the company, coming this week to the Joyce Theater.
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The film helped bring breaking into the mainstream. Over the years, it also became famous for the subs and doubles of its star, Jennifer Beals.
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“Rome & Jewels,” revived at the Joyce Theater, established Rennie Harris as a gifted and canny choreographer of street styles for the concert stage.
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“Memphis Jookin’: The Show,” which presents jookin “in the world it comes from,” is sincere entertainment, packed with talent and heart.
SOURCE: The New York Times Subscription at 02:31PMThe choreographer Troy Schumacher, the composer Ellis Ludwig-Leone and the novelist Karen Russell teamed up, pushing one another to new places in their mediums.
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“Fortuitous Ash,” Keerati Jinakunwiphat’s first work for a ballet company, was spectral in two senses: ghostly and insubstantial.
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The Russian dancer brought her star-and-her-friends touring program to New York City Center on Saturday for a sold-out, one-night-only show.
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The American Dance Platform, this year curated by Ronald K. Brown, gives three companies a stage in New York.
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The Gibney Company presents Naharin’s “Yag,” but the dancers lack the stage presence to fully inhabit it.
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