The pursuit of an original use for space in a dance work often seems a fraught subject for the choreographer, perhaps under the increasing pressure to challenge the conventions of audience-performer relationships.
On a frigid evening in February, Opera Lafayette warmed the Lynch Theater with a most unusual program. The early instrument company is based in Washington D.C. and seen regularly in New York.
New York City Ballet, as an organization, currently exists in a state of suspended animation between the resignation artistic director Peter Martins—accused of emotional and physical abuse of the dancers and cleared by a perhaps less than impartial arbiter—and the appointment of a successor, for whom the search is underway.
In the literature of David Foster Wallace, the footnotes are just as enjoyable as the body of text.
On April 6 and 7, at the Billie Holiday Theater, Gesel Mason will give the final live performances of NO BOUNDARIES, with a new solo by Kyle Abraham alongside revivals of the pieces by Miller, Roussève, McKayle, Zollar, Harris, and herself. But she’s already busy making plans for the project to continue, in the form of a digital archive.