Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | BAM Fisher: Fishman Space

Faye Driscoll's Thank You For Coming: Play is the second in a series of three works that ask the audience to imagine a different kind of participation than they are used to.

In a première and a work from last year, choreographer Ben Munisteri demonstates his mastery of symmetry, unexpected juxtaposition and ensemble dynamics.

For its tenth anniversary season at BAM, Kate Weare Dance Company presents a part retrospective part forward looking program, reflective of the many facets of the choreographer's work

David Dorfman and Korhan Başaran bring Unsettled to New York, a collaborative and culminative performance fusing American, Turkish and Armenian influences, at Bam Fisher.

Helen Simoneau Danse's triple bill at BAM Fisher includes two New York premieres, which are carefully crafted but could do with some carelessness.

Rachel Rizzuto reviews The Nouveau Classical Project and Trio Dance Collective's "Potential Energies" at BAM Fisher.

In their fifth season at BAM Fisher, Satellite Collective performs choreography by Esme Boyce and Manuel Vignoulle.

This was one of those shows where it paid to do your homework. The first thing you need to know is that Lyon Opera Ballet is not a ballet company. Secondly, Joseph Melillo, Executive Producer at BAM, chose to book Christian Rizzo’s ni fleurs, ni ford-mustang at BAM precisely because it was challenging. 

Rachel Rizzuto reviews Tere O'Connor's Bleed at BAM Fisher, where ritual, reverie and humor collide wonderfully.

Kate Weare is the inaugural artist-in-residence at BAM Fisher. The product of that residency, Dark Lark, is a confusing mix of set design, attention-grabbing costumes, whimsical props and an all-too-spare movement vocabulary.

John Heginbotham’s new piece Dark Theater is an intriguingly ambiguous bit of narrative that makes very careful use of musical phrasing – unfortunately, often to the point of predictability. But his movement is fresh and welcomingly idiosyncratic, and certainly no one can accuse him of not making full use of the BAM Fisher theater.

In the current climate of bombastic choreographers, who will pack a piece with far too much movement and thematic material to absorb in one or even many sittings, Brian Brooks’ minimalist style is a welcome change. I like to think of Mr Brooks as the Steve Reich of choreographers: he is able to draw seemingly infinite variations out of a single idea.

Doug Varone is the most successful narrative choreographer today. He is peerless in his ability to transform abstractions, coupled with compelling and complementary music, into dance pieces that leave the audience with a sense of having seen something with a cohesive beginning, middle and end.

Dusan Tynek, now celebrating his tenth season in New York, is a choreographer gifted with an excellent sense of phrasing and rarely paralleled innovation of spatial design. His program at BAM Fisher offered one revival and two world premières; the revival, Base Pairs, and the first world première, Romanesco Suite, fared quite well.

Tiffany Mills’ two pieces, The Feast and Berries and Bulls (a work already seen in a few iterations during its work-in-progress stage), both proved to be not interesting enough and too disjointed to hold my attention for their duration.

Andrea Miller’s Gallim dancers, in Wednesday night’s showing of Blush, seemed to teeter wonderfully on the edge of physicality’s limits, even as the emotionally exhausting piece came to an abrupt and incongruous ending.In Ms Miller’s work, the dancers are clothed in modern-day wrestling or gladiator gear (costume design by Jose Solis), with their faces and bodies covered by a fine, white dusting.

On Saturday night, the Brooklyn Academy of Music’s Fishman Space was the perfect location to recuperate from a stressful week. Unassigned seating, including piles of black pillows, lined all four walls of the space, with Mantra Percussion’s set-up in the center. This set-up consisted of six elevated two-by-fours arranged in a hexagon.

I had decided to reward, or perhaps challenge myself with an unadulterated experience of And lose the name of action by Miguel Gutierrez and the Powerful People on its opening night at Brooklyn Academy of Music’s brand new Fishman Space.