The dance revolution of the 1960s and 70s seems to be making a comeback as dancers think about making their performances less artificial, more “natural.”
Marcia B. Siegel
Dance Review: “Giselle” Now — at the Boston Ballet
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.
Dance Review: Anne Teresa De Keersmaeker/Rosas — Phase by Phase
Anne Teresa De Keersmaeker invites the audience to let go of outside distractions and meditate on our own deeper feelings.
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.
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 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: Mark Morris Dance Group’s — Fab Four Plus
Mark Morris and Ethan Iverson chose songs from the famous album for reflection and extrapolation. What they made is an entertainment, a romp for the company’s terrific dancers.
Dance Review: Danza Orgánica — Pushing UP
What few signs of the rich culture embedded in Danza Orgánica’s artistic director and choreographer Marsha Parrilla’s heritage made token appearances.
Dance Review: Dorrance Dance’s Tapestration
I thought I’d never seen such a thrilling example of how dance and music can combine and feed each other.
Favorite Dance Performances of 2018
Our critics pick some of the highlights of the year in dance.