Dance Review: Moving in the Round With the Master of High Silliness
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The American version of Ms. Hayâs âO, Oâ had its premiere at Danspace Project two years ago, and on Thursday night the French edition rolled into town.
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To experience a single Merce Cunningham dance "event" is to plunge into the whole of Mr. Cunningham's choreographic world.
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As improbable as it may seem to those familiar with Parkinsonâs toll on motor functions, this dance class, taught by a member of the Mark Morris Dance Group, is not a toned-down therapy session.
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Ronald K. Brownâs repertory program is something of a primer to his magnificently textured style.
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In âIn Bruges,â Brendan Gleeson, Colin Farrell and Ralph Fiennes have great fun rummaging around inside Martin McDonaghâs modest bag of tricks.
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The new millennium has brought to the fore two young men who are full-time exponents of ballet as an art both traditional and new: Christopher Wheeldon and Alexei Ratmansky.
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Your endorphins give a little jump just looking at the set of David Neumannâs âfeedforward,â which opened on Tuesday at Dance Theater Workshop.
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Choreographer Lawrence makes his debut as a director with Muni. With a good mix of horror and humour, Muni is an entertainer.
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A close look at American Ballet Theaterâs flashy production of âSwan Lakeâ tells you a lot about its spring season.
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Broadway inspires a morbid fascination. Ever since vaudeville went respectable, a century or so ago, everyone from social critics and city planners to choreographers and doormen has predicted the imminent
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Many bright little ideas punctuate Peter Martinsâs ballet of âRomeo and Julietâ for New York City Ballet.
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The film has its genuinely hilarious moments.
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A number of recent pieces showed how dance can powerfully focus attention on the essentials: the body, movement, human existence in a mysterious and unknowable world.
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Precious vacuity ruled in this latest installment of an august showcase devoted to choreography by emerging artists.
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Can modern dance survive and develop, many wondered early on, without a core syllabus like balletâs? The same question might be asked of Butoh.
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ÂChapel/Chapter,Â shown on Tuesday at the Gatehouse, is the least overtly political dance from the Bill T. Jones/Arnie Zane Dance Company in some time. It is also the most affecting.
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Richard Foremanâs phantasmagorical new show is as disciplined as a Balanchine ballet.