Wayne McGregor’s Woolf Works mistakes density for detail, and misses an opportunity to bring Virginia Woolf’s sublime inner worlds to the ballet stage.

Richard Move’s sprawling resume includes their Bessie Award-winning conjuring of Martha Graham, productions for Mikhail Baryshnikov’s White Oak Dance Project and the Guggenheim, collaborations with fashion designer Isaac Mizrahi and astronaut-artist Dr. Sarah Jane Pell, respectively, and much more. This mix of high fashion, cutting-edge technology, and blue chip art seems far away from Governors Island and its gentle parkland. Yet, Move’s playful curiosity and theatrical flair enlivens the meaning embedded within the landscape.

Experimental artist Bill Shannon is the subject of CRUTCH, a new documentary chronicling 20 years of his career as a street performer, skater, b-boy, and more. Shannon speaks with Nicole Loeffler-Gladstone about the documentary process, his performance strategies, and representations of physical disability.

On May 14, I sat down at my tiny table to listen in on “REAL TALK!” the first public discussion of the “Creating New Futures” document. The CNF document is an urgent response to the wave of COVID-19 cancellations that have decimated the performing arts, assembled by a group of choreographers, producers, funders, and others within the dance world. As facilitator and noted choreographer Maria Bauman-Morales opened the evening, she called in the legacy of revolutionary anarchist and labor organizer Lucy Parsons as one of the ancestors we can learn from in this moment.

Baldwin leads her audience on a strange journey through the land, and Quarry feels deeply site-specific while remaining mysterious and a little unsettling.

Director Chen Shi-Zheng's Dragon Spring Phoenix Rise, a premiere for The Shed's inaugural season of programming, is billed as a “kung-fu musical,” meant to be innovative in its combination of cultural forms and sensibilities. Instead, it's a confusing mishmash.

The massive, blazingly white stage, erected at the Park Avenue Armory for Anne Teresa de Keersmaeker’s North American premiere of Six Brandenburg Concertos, creates an atmosphere of heightened expectation. It looks like a giant frozen pond, or the head of a drum, and it feels like something big is bound to happen.

The Lower Manhattan Cultural Council (LMCC)'s River To River Festival stages art and performances throughout lower Manhattan, enlivening civic buildings and other public spaces with free events. The festival originated as part of the post-September 11^th economic revitalization, demonstrating that the neighborhood was safe and resilient.

Hofesh Shechter's Grand Finale opens with a burst of energy, yet the intensity remains curiously level for a dance that seems to be about end times.

I can hear low conversation as people gather around a glowing light and write letters to the future. Later, in the deepest part of the night, someone plays the
violin. The sound stays with me as I doze off and helps me remember where I am when I open my eyes.

“The Current Sessions” (TCS) had been steadily functioning as a mixed-bill series, hosting a variety of emerging and established choreographers in four shows over the course of a weekend.

It’s heartening to see that the BAM Harvey Theater is nearly full for Three Acts, Two Dancers, One Radio Host, a celebration of forms with a tenuous grip on our cultural attention span. Ira Glass, producer of This American Life, hosts, while Monica Bill Barnes and Anna Bass of Monica Bill Barnes and Company join him as dancers.