NYT > Dance
She was seen frequently in modern dance works in New York beginning in the 1960s and taught at N.Y.U. for 38 years.
When Boy Blue’s dances, the connection between sound and motion is exceptionally tight. The company danced at the White Light Festival.
John Heginbotham, choreographer of the recent “Oklahoma!” at St Ann’s Warehouse, combines Rossini music, puppets, the sun, moon, devil and a baby.
Ate9, the choreographer Danielle Agami’s company, performs with the Wilco drummer Glenn Kotche onstage, but he’s not the center of attention.
The joyful finale of John Heginbotham’s “Fantasque,” set to music by Respighi, reminds the dancer Lindsey Jones of the “flowy freedom” of Isadora Duncan.
Still touring, Dylan is more enigmatic now than ever; see him next at the Beacon Theater in Manhattan for seven gigs.
When singers move well, opera’s physical side becomes related to choreography, connecting humans to music in terms of space, time and meaning.
The choreographer revisits 10 of her works, from 1965 to ’71, in a new production called “Minimalism and Me” at the Joyce Theater.
Changes to “The Nutcracker” are part of a broader effort to re-examine how people of color are portrayed in the performing arts.
Arthur Pita’s shiny dance-drama is well made and has committed performances, but whenever the dancing starts, the tension drops.
Former employees of the acclaimed Belgian artist want the university to more publicly address the accusations against him before his company performs there on Saturday.
“Minimalism and Me,” Ms. Tharp’s two-part program at the Joyce Theater, pays homage to her early years as an experimentalist.
With 350 pieces, the Warhol retrospective at the Whitney sets aside the icon’s persona and focuses on his art.
Arthur Pita's dance-drama “The Tenant” (yep, like the Polanski movie) features James Whiteside and Cassandra Trenary of American Ballet Theater.