Dance Review | Maybe Forever: Maybe Never? Loveâs Old Bittersweet Song
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The world that opens up in Meg Stuartâs âMaybe Foreverâ is complete and vivid in its own brainy, sometimes unruly way, and almost always satisfying.
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There is plenty of sorrow to be found in âInto the Wild.â But though the filmâs structure may be tragic, its spirit is anything but.
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If you like breezy love stories, you may enjoy this one.
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Alessandra Ferri and Kyra Nichols, beloved ballerinas with more than a half-century of performing between them, are as different in style and temperament as they come.
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âArea 51,â a new dance by Yvonne Meier and Aki Sasamoto, was a wittily imaginative exploration of how much can be communicated almost entirely by movement.
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Wednesdayâs performance of âWhat if Saori Had a Party?,â about dreams versus reality, is surprisingly intricate but more artful than engrossing.
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Four ballerinas say goodbye. Let us count the ways weâve come to love them.
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At 93, Frederic Franklin can relate much of the history of ballet from firsthand knowledge. But that doesnât mean heâs finished performing.
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As the opening credits display in John Curran&#39;s drama &quot;We Don&#39;t Live Here Anymore,&quot; two couples mingle in a silent dance. It&#39;s an appropriate beginning for a movie that&#39;s, essentially, a melancholy change-partners dance, and a reflection on two marriages ...
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You could argue long and hard about whether all or any of the four works presented as âAmerican Dance Masterpiecesâ really are masterpieces, and the argument would be interesting.
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Contemporary dances still die quick, quiet deaths far too often. Here are some gems from 2007 worth bringing back at least once.
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Variety - (Variety) &#151; SYDNEY -- Seventeen years after the motion picture shimmied its way into the psyches of little girls the world over, "Dirty Dancing" is to be realized live onstage.
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The gently rambling, dreaming tone of Jacques Tatiâs films is deceptive. Tati, who died in 1982, choreographed every move and effect.
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The company has transcended the trauma of its founderÂs death and has forged into the future with a strong roster of dancers and a steady touring schedule.
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NEW YORK  &#151; Alessandra Ferri and Kyra Nichols, beloved ballerinas with more than a half-century of performing between them, are as different in style and temperament as they come.
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Where âControlâ might have been literal-minded and sentimental, it is instead enigmatic and moving, much in the manner of Joy Divisionâs best songs.
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Set at a small Catskills  resort in the 1950s, when writers were blacklisted for alleged  Communist sympathies, Michael Elias&#39; play is shot through with  the kind of nostalgia that signals deep personal involvement.  But it leaves out the details of why this means something to  him, and so it fails to engage the audience with an emotional  back story.