Dance
Offering a carefully calibrated, nearly static universe, Beth Gill relies on the audience’s imagination to fill in any question marks
Two works by one of the most-in-demand choreographers of our time received powerhouse performances from the New York City Ballet.
All of three of these ballets adapted the classical vocabulary and demonstrated that constant evolution is what keeps classicism alive.
This Sleeping Beauty teaches the audience that fussy costumes and wigs and long-winded storytelling are the apex of ballet.
Dancer/choreographer Maureen Fleming’s highly distinctive style of movement is unforgettable.
Kylián’s astute choice of musical selections helped gave a structural shape to “Wings of Wax.”
Eva Maze drops names and paints a heady picture of the high life, but she does so with the disarming charm that permeates most of her memoir.
BODYTRAFFIC seems to be invested in a relentless likeability.
Any performance of Meredith Monk’s is spare to the point of enigma, and also tremendously evocative.
Like a lot of first efforts by prospective masters, Artifact is loaded with ideas.
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