Patricia McBride, Edward Villella and Mimi Paul have been invited to coach the roles that were made for them by George Balanchine.
Author Archives: GIA KOURLAS
Joaquin De Luz, who is retiring from New York City Ballet on Oct. 14, dances a portion of George Balanchine’s “Theme and Variations.”
Anne Teresa De Keersmaeker’s new piece at the Park Avenue Armory found its pulse only intermittently.
RoseAnne Spradlin’s “Y” is a cyclical exploration of form: The movement repeats and changes its facing 8 times, so the dance is visible from multiple sides — like a sculpture.
At its best, this collaboration between the choreographer Will Rawls and the poet Claudia Rankine, merges words and movement with pungent force.
The third movement of George Balanchine’s “Symphony in C” is for jumpers. “You’re supposed to shoot out and fly,” says Indiana Woodward of City Ballet, who dances here with Sebastian Villarini-Velez.
The real art in MoMA’s ambitious Judson exhibition, “The Work Is Never Done,” isn’t hanging on the walls. It’s on the dancing bodies in the atrium.
Mr. Harrell uses theatrical flair to explore the connection between early modern dance and hoochie-coochie-type Orientalism.
We talked to Mr. Jones, whose work braids storytelling and movement into a theatrical collage, before marathon performances of his “Analogy Trilogy.”