Two autobiographies by women who had some experience in legitimate theater, but they each gave their strongest allegiance to dance, specifically one choreographer.
Via Ray Bolger’s trajectory we traverse the boards of Broadway and the silver screen of Hollywood — as well as the smaller, but equally thrilling, milieux of nightclubs and television studios.
This mysterious dance may have no meaning at all beyond its cryptic theatricality and movement. Or it may mean a lot.
Although hailing from different backgrounds, Tony Williams and Duggan Hill share important commonalities, most notably their engagement with urban youth.
Monica Bill Barnes, a dancer-choreographer, mime, storyteller and soft satirist, has riffed in the past on the pitfalls of dancing, the vanity of performers, the absurdities of adolescence. Now she’s looking at gender displacements and assertions.
William Forsythe asks dancers to go beyond their mastery of technique — in order to have the music move audiences to a higher level of emotional involvement.
Mark Morris and Ethan Iverson chose songs from the famous album for reflection and extrapolation. What they made is an entertainment, a romp for the company’s terrific dancers.
The question is whether this evening of dance was supposed to be engaging or enraging — or both.
What few signs of the rich culture embedded in Danza Orgánica’s artistic director and choreographer Marsha Parrilla’s heritage made token appearances.
I thought I’d never seen such a thrilling example of how dance and music can combine and feed each other.