Dressed in cream-colored pants, a crisp white shirt, sneakers, and big owlish spectacles with red plastic frames, Twyla Tharp played the professor in the first part of the 90-minute show.
Boston Dance Theater’s four pieces seemed to counter female stereotypes but raised limited alternatives.
John Heginbotham may be making modern dance but he gives us the gift of classicism: discovery within form.
One thing I liked so much about this show, besides the mental and physical challenges, was its use of really simple and mundane materials.
Places Please! looks at the backstage life and trauma of performers.
Now, we’re told, Trajal Harrell has been researching Butoh dance and hoochy coochy dance, hooking them up with the precursors of modern dance and slathering on generous amounts of gender theory.
“The work is now stronger having successfully balanced both the needs of the visual choreography and the sound.”
Jerome Robbins makes me think about how nonverbal characters can inhabit their times.
Choreographer Paul Taylor leaves a repertory that sprawled from the outrageous to the sublime.
Nicholas Van Young supplied an astounding display of virtuosity that seemed to amaze even the dancer himself.