The wife-and-husband team of Sara Mearns and Joshua Bergasse talk about working together on “I Married an Angel” for Encores! Reader, she Lindy Hops.
Author Archives: GIA KOURLAS
Gaspar Noé’s “Climax” is the latest movie to push the ecstatic, frightening qualities of dance into horror. A body holds plenty of space for terror.
Her project “Paramodernities” — an ambitious deconstruction of works by six canonical moderns — features this reimagined version of Nijinsky’s “Rite of Spring.”
Is a dancer willing to fail? Mr. Naharin’s “Decadance/Chicago” reveals the courage within grace. But Crystal Pite’s program makes the dancers anonymous.
City Ballet’s Silas Farley takes over three galleries at the Met in a dance to spirituals and songs written by men in San Quentin prison.
Okwui Okpokwasili’s “Adaku’s Revolt,” a work for young audiences, focuses on a girl who challenges conventional beauty standards by choosing natural hair.
Wendy Whelan has been chosen to run City Ballet with Jonathan Stafford, but her professional title is missing a prefix, as in co-artistic director.
“It’s pretty scary”: Melissa Toogood and American Ballet Theater’s Calvin Royal III dance a difficult duet from Merce Cunningham’s “Scenario.”
Sara Mearns of New York City Ballet dances a portion of her role as the Siren in George Balanchine’s “Prodigal Son.”