Vanessa Anspaugh’s mourning after mornings offers a sprawl of unruly movement and intergenerational tenderness at New York Live Arts.

Two writers wade into the hazy environment of David Thomson’s new work to grapple with opacity and transparency, the magical and mundane. Where one sees an M, the other sees a W, yet both come away with a sense of intimacy in the unknown.

Dirt Trip is a beautiful blend of tightly researched monologues and manic physical improvisation. Tatarsky explicates esoteric clowning traditions, then riffs on them effortlessly.

Kelsey Rondeau’s MAIN CHARACTER SYNDROME desperately wants to entertain you.

Sperber’s signature minimalism is, at its core, an exploration of friction and weight. The dancers set limbs against torso, fabric against wind, shoes against roof. These experiments produce movement and sound in equal measure.

Over three weekends in June, Movement Research collaborated with River to River to curate a series of processional performances in Battery Park City. I attended Okwui Okpokwasili and Emilý Æyer’s “Procession,” which proved to be both simple and challenging.

Dance is back in theaters. The productions are better than ever, but the real choreography is happening in the audience. As we navigate a safe return to indoor space, how do we hold on to the pleasures of attending a show?

deadbird + can anybody help me hold this body? is a reflection on devynn emory’s time as a COVID-19 hospice nurse and the American aversion to grief, death, and bodies in transition. emory brings their whole self into the piece, exposing the transitional nature of all people, especially those who are dying.

As the slow crawl of ballot counting across America began on November 3, Dragonfly/Robin Laverne Wilson performed her own crawl through the streets of New York. Dressed as a statue of fugitive slave Ona Maria Judge Staines, the artist summons the power of a living monument.

In his description of The Master and Form (2018), Brendan Fernandes claims to “queer” the illusionistic discipline of ballet by focusing on effort, which would be radical if it weren’t a few years late.