Dance: Seen It Once? Thatâs Just the Start
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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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âCaught,â a short work for one dancer and one heck of a strobe effect, is featured in both programs of Parsons Danceâs current stint at the Joyce Theater, which covers 20 years of company repertory.
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The enterprising Zellerbach Hall at the University of California, Berkeley, is presenting a season in which three of Americaâs foremost companies are  each presenting programs of post-1950 choreography, and each showing one or more works by Twyla Tharp.
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âStep Up 2 the Streets,â the new hip-hop dance movie, represents a second chance of sorts for the director Jon M. Chu.
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Thereâs one more activity emerging to give prepubescent go-getters a leg up these days: sports performance training.
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NEW YORK When Fox aired a new episode of So You Think You Can Dance last month, 994,000 viewers watched the show on their DVRs up to three days after its May 24 broadcast. While those viewers may have been dazzled by the fancy footwork on the show, the ads didn&#39;t prove as appealing--two-thirds of the viewers fast-forwarded through the commercials.
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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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There&#39;s something to be said for being the &quot;first mover&quot; in an industry trend. Those years of extra experience in tinkering with a new idea can be invaluable in helping the first
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It seems entirely blasphemous to open a review of Americaâs oldest dance company by commenting on something other than the choreography.
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The new âEdge/Joy,â to music by Ricardo Zohn-Muldoon, is a formal departure from Garth Faganâs dancer-driven style and requires extra work from the audience, but itâs rewarding work.
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Both of the works premiered by American Ballet Theater on Friday were filled with possibilities only partly realized.
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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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In her latest program, Neta Pulvermacher reveals not just a trilogy of dances, but also three sides of the choreographer herself.
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If you've hummed along, tapped your  feet, or even danced in your seat while watching "Purple Rain,"  "Saturday Night Fever" or "Trainspotting," you're not alone.
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In the past year dance has finally carved out a space for itself online as dancers, choreographers and institutions embraced the Internet with video, blogs and new Web sites.
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The excitement starts at once in âRay.â Starts with the strains of âWhatâdI Say.â Starts with the image of fingers dancing over piano keys reflected in the lenses of Ray Charlesâ signature shades.
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Maybe this review should start at the point when the show came alive for the first time: at the end, with the encore.