NEW YORK — Alexandria Wailes has had a cathartic, enlightening autumn. As the Lady in Purple in “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf,” she finally has a part that reflects her just the way she is: deaf, mixed race and a dancer.
NEW YORK — When Paul Taylor asked Michael Novak to take over his organization after he buzzed off — that was the way Taylor put it — both knew what a challenge the job would be.
NEW YORK — One of the pleasures of a life filled with dance is the way, at the end of the day, a performance can force the mind to change course, to quiet down. William Forsythe’s program at the Shed, “A Quiet Evening of Dance,” which opened Friday, takes that to another level.
Lara Spencer apologized for comments she made last week about boys who dance ballet in an extended segment Monday on “Good Morning America,” during which she acknowledged that her remarks had been insensitive and said that she had learned from them.
When the Vail International Dance Festival proposed to Alonzo King that he choreograph a new work featuring four members of his San Francisco company, Lines Ballet, and four from New York City Ballet, he knew just what he needed: a partner.
NEW YORK — Looking more like a Japanese pop band than a dance company, five women, all in white down to their nail polish — toes and fingers — stand or sit on white stools behind vertical screens. Is this a dance or a fashion show? Maybe a little of both.
NEW YORK — “Attractor,” a work directed and choreographed by Gideon Obarzanek and Lucy Guerin, was born out of desire for a ritual: a cathartic soul rinsing for nonbelievers. But the act of letting go isn’t so easy, even with the assistance of the otherworldly Indonesian music duo Senyawa, who mix folklore traditions with experimental sounds.
NEW YORK — Silas Farley is as comfortable in the Assyrian Court at the Metropolitan Museum as he is on the stage of New York City Ballet. How is this possible? When he was 14 and a new student at the City Ballet-affiliated School of American Ballet, a patron — “a woman who’s like my fairy godmother,” he said — gave him a museum membership.
NEW YORK — In Hebrew, “gallim” means waves, so it’s fitting that a big one crashes onto the stage — not actual water, but rippling fabric — in the latest production by Gallim, a Brooklyn company led by choreographer Andrea Miller.
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