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.
Dance
Dance Review: “Significant Others: Dances for Family, Friends and Lovers” — Through the Lens of History
In this piece, Peter DiMuro asks a vital question: how has history informed the ways we look at queerness today?
Dance Review: “See You Yesterday” — Airing Nightmares
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.
Theater Review: BalletX — Plenty of Spunk
Here was another (all-too) typical example of ballet companies reinforcing a patriarchy that hardly reflects the number of women in their ranks.
Book Review: The Lives They Wrote
Two autobiographies by women who had some experience in legitimate theater, but they each gave their strongest allegiance to dance, specifically one choreographer.
Book Review: Dancer Ray Bolger — America’s Animated Cubist
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.
Dance Review: Batsheva Dance Company of Israel — Strange Encounters and Outbursts
This mysterious dance may have no meaning at all beyond its cryptic theatricality and movement. Or it may mean a lot.
Dance Feature: Boston Dance Alliance Celebrates Tony Williams and Duggan Hill
Although hailing from different backgrounds, Tony Williams and Duggan Hill share important commonalities, most notably their engagement with urban youth.
Dance Review: It’s Party Time — Monica Bill Barnes & Company
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.
Dance Review: “Full on Forsythe” — Revolutionary
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.