The performance I saw on Friday night revealed Boston Ballet’s priorities: while the dancers possess a high degree of technical skills, they have a looser notion of nuanced acting.
Anne Teresa De Keersmaeker invites the audience to let go of outside distractions and meditate on our own deeper feelings.
Red Sky Performance’s hold-your-breath physicality provides plenty of “wow factor.”
Gallim specializes in depicting raw emotions through movement.
A passion for authenticity characterized this mesmerizing program from beginning to end.
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.
In this piece, Peter DiMuro asks a vital question: how has history informed the ways we look at queerness today?
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.
Here was another (all-too) typical example of ballet companies reinforcing a patriarchy that hardly reflects the number of women in their ranks.
Two autobiographies by women who had some experience in legitimate theater, but they each gave their strongest allegiance to dance, specifically one choreographer.