Dance
Given the infectious and embracing music of Burt Bacharach and Hal David, Mark Morris’s The Look of Love will most likely be regarded as among his most accessible and popular dances.
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Bravo for the Boston Dance Theater’s decision to venture outside of Boston and perform at an interesting venue in Portland, ME.
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Bill T. Jones/Arnie Zane Company’s Curriculum II is no intellectual exercise. It is a gut-wrenching journey into the heart of darkness, offset by flashes of compassion and light.
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Because Mindy Aloff is so deeply personal and idiosyncratic — and so dependent on what was programmed by certain theaters, in certain years — her book distorts the very topic it is intended to illuminate.
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Circa has come up with a stunning way to combine the athleticism of circus training with the aesthetics of dance theater.
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In choreographer Rachel Linsky’s hands — and the bodies of her articulate, reverberating dancers — you gain both kinesthetic and emotional access to the worlds of those who lived the Holocaust.
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What Kyle Abraham has done is to conjure up a wonderfully confusing vision into the myriad possibilities raised by the cycle of death and life again.
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The struggle is to define what the problem is – and to allow the questions to have big, destabilizing, and more honest answers.
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Love, anger, frustration, hope, sadness, lullabies — they are all here through movement that is at turns elegant and awkward, nuanced and propulsive.
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Dance Commentary: Contract Dispute Between Union Artists and Alvin Ailey American Dance Theater — ‘Buked and Scorned?
The Ailey dancers’ demands around salaries and the length of their contracts reflect the resurgent strength of organized labor in the cultural sector.
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