A Mark Morris world premiere, part of the Mostly Mozart Festival, is awkward and has much less to say than the Schubert work it’s paired with.
Our chief dance critic shows us the ways this master choreographer put modern, idiosyncratic twists on gender and love in “Love Song Waltzes” (1989).
“Pepperland,” a deconstruction of the Beatles’ “Sgt. Pepper,” is a series of brainy notions — evocative but distanced.
The organization announced Friday that construction on its new building in Downtown Brooklyn is underway.
The deceptively modest programs at his Brooklyn dance center include a nearly new knockout, a major revival and career-spanning variety.
It’s called Dances for the Future: “We have a living, breathing artist,” the executive director of his dance group says. “This is the moment to invest in that.”
This month, two of the finest examples of the Waltz of the Snowflakes are on display in New York. Two dancers lift the veil and talk snow.
Our chief dance critic takes readers through the party scene of Mr. Morris’s “The Hard Nut,” a triumph of postmodernism at the Brooklyn Academy of Music.
In four pieces, Mr. Morris’s troupe drew from South Asian idioms as well as Native American and other influences.