A quintet of Ailey’s strongest dancers reflect on their humble beginnings, plus their greatest challenges performing the works of the company at the pinnacle of contemporary dance.
SOURCE: Playbill at 12:00pm on November 29, 2017☆⚑
Elisa Monte Dance launched a weeklong season at the Joyce Theater with an opening-night gala featuring four works choreographed by Monte over a span of 32 years.
The Alvin Ailey American Dance Theater always offers exquisitely danced performances, teeming with powerful athleticism and pungent passion. Its Dec. 16 performance was no exception.
This visually impressive multimedia retelling of the Persephone myth, from "Side Show" scribe Warren Leight, is dramatically dull and musically innocuous, with a bland Julia Stiles in the title role.SOURCE: Backstage at 5:58pm on May 25, 2015☆⚑
Paul Taylor Dance Company proffered an uneven triple bill that sandwiched off-putting "Brief Encounters" between enchanting "Black Tuesday" and uncomfortable "Arden Court."
Gallim Dance offered a stunning performance of its artistic director Andrea Miller’s intriguing "For Glenn Gould," while the talented performers of Sidra Bell Dance New York made all t…
David Parsons' choreographic style might be tagged "modern dance lite," yet out of a buoyant lexicon grounded in selective borrowings from classical ballet, Graham technique, and Paul Taylor…
All 15 members of the Cedar Lake Contemporary Ballet are such phenomenal dancers that, when watching the company perform, one is so awestruck by how good they are that it is difficult to foc…
Melanie Cortier's bland balletic choreography of "The Beatitudes," a 35-minute dance play about the Beat movement, bears no resemblance whatsoever to Beat sensibilities.
This updated contemporary-dance version of the 19th-century ballet classic is rich in serious emotional content and sharp satirical detail, making for powerful, hard-edged theater.
Choreographed in 1991 by Mark Morris and being presented in New York for the first time since 2002, "The Hard Nut," performed by Mark Morris Dance Group, is as tickling as ever.
An entire evening of Dwight Rhoden's choreography is exhaustingly monotonous. The dances feel like chains of unmotivated tasks, which all become a wearisome waste of energy.
Written and performed by Mark Chrisler, "The Art of Painting," a Fringe Festival show, is a masterful piece of heady writing about painter Jan Vermeer.
A dandy one-man Fringe show written and performed by Scott Baker, "Bang!: The Curse of John Wilkes Booth" explores the myth that Booth was never captured.
Starring Mikhail Baryshnikov and overflowing with sublime images, haunting music, and subtle comedy, "In Paris" is nonetheless dramatically unengaging.
Chinese puppeteer Yeung Faï's "Hand Stories" jarringly alternates delightful sequences of traditional hand puppetry with weighty autobiographical drama.
Paris Opera Ballet's enchanting performance of "Giselle" features humor, eloquent footwork, realistic acting, and a definitive interpretation of the Wilis.
Choreographer Trisha Brown's infinitely interesting "Astral Converted" is a perfect work for contemporary art fans with a bent for architecture or geometry.
