Dance
Fresh from choreographing a Tony award-winning revival of Oklahoma!, John Heginbotham presents a world premiere in the Hopkins Center for the Arts at Dartmouth College.
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In this piece, Peter DiMuro asks a vital question: how has history informed the ways we look at queerness today?
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The horrors portrayed in See You Yesterday are facts, but this show does not yet address the meaning a new generation can make of those facts.
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Here was another (all-too) typical example of ballet companies reinforcing a patriarchy that hardly reflects the number of women in their ranks.
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Two autobiographies by women who had some experience in legitimate theater, but they each gave their strongest allegiance to dance, specifically one choreographer.
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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.
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This mysterious dance may have no meaning at all beyond its cryptic theatricality and movement. Or it may mean a lot.
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Although hailing from different backgrounds, Tony Williams and Duggan Hill share important commonalities, most notably their engagement with urban youth.
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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.
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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.
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Arts Commentary: Rich in Creativity — But Nothing Else