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Lucinda Childs presents four new works at the Haus der Berliner Festspiele, appearing on stage as a youthful 84, in one of them.

For the first time in Italy the opera that brings together the spiritual music of the Estonian composer and the minimalist direction of Robert Wilson.

The Day features music by David Lang and choreography by Lucinda Childs as former ballerina Wendy Whelan and cellist Maya Beiser perform together in this work contemplating memory, mortality, and aging.

A programme that proves you can definitely dance to Beethoven; and in so many different ways.  

Repetition is central to the Available Light's formal elegance.

Summer is the season for dance festivals, and Berlin-based international dance festival Tanz im August's opening performance, Available Light by John Adams, Lucinda Childs and Frank O. Gehry is performed to a full house.

The Lucinda Child Dance Company performers were stellar, and the music by John Adams (Light Over Water, 1983) was as expected; however, the set design by Frank Gehry was naively conceived for this venue. This production revealed that some art works transcend the test of time, but not that of space.

Brass bands and balletic phrases formed part of Rambert's new mixed bill at Sadler's Wells, which also including the world premiere of Mark Baldwin's big and bold celebration of Welsh mining tradition.

Introdans presents a varied mixed-bill of accessible contemporary works by both renowned and up-and-coming choreographers.

Program Two of the Fall for Dance festival , at New York City Center, is an ionic choreographers' digest. With works by Child's, Forsythe (For Semperoper Ballet Dresden) Ramirez -Wang and Naharin (for Alvin Ailey American Dance Theater).

The Bridge Project 2014 presents four generations of postmodern dance pioneers in one historic evening at the Joe Goode Annex in San Francisco: Anna Halprin, Simone Forti, Lucinda Childs, and Hope Mohr.

It isn’t so much that Einstein on the Beach is impossible to summarise, I don’t think, as that it’s just impossible generally. At least, if you were to list this opera’s various constituent elements to somebody, and ask them if it was basically plausible, they would probably say no. Suffice it to say the following: it is four and a half hours long and there is no interval.