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Two autobiographies by women who had some experience in legitimate theater, but they each gave their strongest allegiance to dance, specifically one choreographer.
The post Book Review: The …
This mysterious dance may have no meaning at all beyond its cryptic theatricality and movement. Or it may mean a lot.
The post Dance Review: Batsheva Dance Company of Israel — Strange Enc…
By bringing Happy Hour to Boston, Celebrity Series was aiming to expand its stodgy audience demographic, and it succeeded.
The post Dance Review: It’s Party Time — Monica Bill Barnes &a…
Mark Morris and Ethan Iverson chose songs from the famous album for reflection and extrapolation. What they made is an entertainment, a romp for the company's terrific dancers.
The post Dan…
What few signs of the rich culture embedded in Danza Orgánica's artistic director and choreographer Marsha Parrilla's heritage made token appearances.
The post Dance Review: Danza Orgánica…
I thought I'd never seen such a thrilling example of how dance and music can combine and feed each other.
The post Dance Review: Dorrance Dance’s Tapestration appeared first on The Art…
Dressed in cream-colored pants, a crisp white shirt, sneakers, and big owlish spectacles with red plastic frames, Twyla Tharp played the professor in the first part of the 90-minute show.
Boston Dance Theater's four pieces seemed to counter female stereotypes but raised limited alternatives.
John Heginbotham may be making modern dance but he gives us the gift of classicism: discovery within form.
One thing I liked so much about this show, besides the mental and physical challenges, was its use of really simple and mundane materials.
Places Please! looks at the backstage life and trauma of performers.
Now, we're told, Trajal Harrell has been researching Butoh dance and hoochy coochy dance, hooking them up with the precursors of modern dance and slathering on generous amounts of gender the…
Jerome Robbins makes me think about how nonverbal characters can inhabit their times.
Choreographer Paul Taylor leaves a repertory that sprawled from the outrageous to the sublime.
La Sylphide is full of magic. It might be about magic.
Going beyond the reasonable concept, there was the New York Theatre Ballet's performance.
Sleeping Beauty needs not only to thrill us but to carry us somewhere back into its own history.
Sutra was a curious mix of reverence and virtuosity, lavish movement and intricate music -- over an hour's worth of changing forms. I found it intriguing and untrackable.
Kelley Donovan believes every dancer should own her movement, not just perform it.
What a treat to see choreographers of different generations concentrating on ballet itself and asking the audience to appreciate what ballet can do.