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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.

Pam Tanowitz's Sequenzas in Quadrilles makes use of series curator Lars Lubovitch's unusual vision for the Joyce Theater: Dance in the round.

John Jasperse once more proves himself the master of form, function and, in this case, danceable art history.

Ballet BC's Thursday night performance at The Joyce in NYC included a kitschy première from artistic director Emily Molnar, a quirky ensemble number from Sharon Eyal and Gai Behar and a truly beautiful work by Crystal Pite.

Michelle Dorrance and Nicholas Van Young's ETM: Double Down at The Joyce is a tap-happy, technology-driven, everything-but-the-kitchen-sink performance bursting at the seams with energy.

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

Kyle Abraham's Abraham.in.Motion offers an evening of undeniable rawness at the Joyce Theater in NYC.

Rachel Rizzuto reviews Anne Teresa De Keersmaeker and Boris Charmatz's duet, Partita 2, with violinist Amandine Beyer as part of Lincoln Center's White Light Festival. 

New York City Center's Fall for Dance Festival opens with performances by Miami City Ballet, L.A. Dance Project, Doug Elkins Choreography, etc. and Che Malambo

Rachel Rizzuto reviews the Batsheva ensemble in artistic director Ohad Naharin's Decadance at the Joyce Theater in NYC.

Blanca Li’s Robot at BAM is a fun but often muddled piece of dance theater, with a particularly unusual cast: half humans, half tiny (only a couple feet tall) robots. 

Rachel Rizzuto reviews Cedar Lake's final performances as a company at BAM in New York City.

Rachel Rizzuto reviews Hubbard Street Dance Chicago's Program A at The Joyce Theater in NYC, which features works by Alejandro Cerrudo, Robyn Mineko Williams, Crystal Pite and Gustavo Ramirez Sansano.

The Mark Morris Dance Group delights at the Brooklyn Academy of Music.

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

Carmen de Lavallade's solo show, As I Remember It, is a touching moment with the performer. Currently performed at the Baryshnikov Arts Center, New York City. 

Nederlands Dans Theater 2, the Dutch powerhouse's young ensemble brings a mixed programme to New York City 

Rachel Rizzuto reviews Pina Bausch's Kontakthof (1974) at BAM in Brooklyn.

Mark Dendy weaves Greek myth with autobiography in his dance-play, Labyrinth, at Abrons Art Center.

Fall for Dance's Program One features Black Grace, San Francisco Ballet, Russell Maliphant's choreography and the Mark Morrids Dance Group. A mixed bag, with Morris's Words the lovely cherry on the top!

DANCENOW Festival's Encore! performance at Joe's Pub. A mixed evening at Joe's Pub, New York City .

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

Rachel Rizzuto reviews Cherylyn Lavagnino Dance's "Darkness, Shadows, Silence" at Danspace.

Rachel Rizzuto reviews Cedar Lake Contemporary Ballet's Program C at BAM Howard Gilman Opera House.

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.

John Jaspere's quartet Within between at New York Live Arts is an exhilarating, surprising, well-constructed and incredibly well-danced piece.

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

Levi Gonzalez's The Craft of the Father is full of spontaneity and realness, combining vulnerability with the grotesque at the Chocolate Factory Theater, New York City. 

Rachel Rizzuto reviews LeeSaar The Company's Princess Crocodile at the Baryshnikov Arts Center, New York. 

Rachel Rizzuto reviews the Trisha Brown Dance Company's three older pieces, including Son of Gone Fishin' and a more recent piece, Rogues at New York Live Arts.

Rachel Rizzuto reviews the David Dorfman Dance Company at the 92nd Street Y, as part of the Stripped/Dressed program curated by Doug Varone.

Rachel Rizzuto reviews Beth Gill's New Work for the Desert, an occasionally serene and entirely deliberate meditation of movement, at New York Live Arts.

Netta Yerushalmy's work-in-progress at the 92nd Street Y's Harkness Dance Festival, where the audience is given a glimpse into her world of Gertrude Stein speech and cubist art.

Rachel Rizzuto reviews Faye Driscoll's Thank You For Coming at Danspace, New York City.

Rachel Rizzuto reviews Kimberly Bartosik's You Are My Heat and Glare at New York Live Arts.

Pam Tanowitz presents two world premieres, a duet and a group work, at the Joyce Theater in her customary balletic-breakdown fashion.

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

Rachel Rizzuto reviews Mark Morris' L'Allegro, il Penseroso ed il Moderato at Lincoln Center, as part of the White Lights Festival.

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.

Larry Keigwin’s 10th anniversary show at the Joyce was a nicely varied retrospective of his work, although several of his earlier works include elements that are no longer fresh and occasionally come across as gimmicky. However, his most recent work, Canvas, assured me that Mr Keigwin is in full command of his choreographic power.

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.

David Dorfman’s Come, and Back Again is an earnest – occasionally too earnest – and authentic exploration of Mr Dorfman’s own fears of mortality and mess. Mr Dorfman presents a well-integrated whole, with a whitewashed junkyard set; video projection monologues; a live, onstage band; and a dance space that seemed to encourage straight-from-the-heart confessions and freewheeling movement.

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.

In the Joyce Theater’s Wednesday night program for the 45th anniversary of Lar Lubovitch’s company, Mr Lubovitch presented three duets – bits of fluff, really – and one enigmatic piece for nine men that has left me bewildered and yet decidedly in favor of it.

Jin Ju Song-Begin’s evening-length piece Thirst, for her company Da-On Dance, was a strongly-danced interpretation of Dante’s Inferno, though it aped too many contemporary, “serious” dance contrivances – namely, an overwrought emphasis on intensity.Ms Song-Begin was the featured soloist of her own piece, and she was often the highlight.

How lucky I am to live in a city where I can head over to Lincoln Center and catch an entire evening’s worth of Balanchine ballets, performed by the stellar artists that make up New York City Ballet. This gift is not lost on me; I may be becoming a jaded New Yorker, occasionally cynical and impressed by little, but I feel quite a thrill attending the ballet.

Choreographer Arthur Pita’s production of The Metamorphosis – I hesitate to call it a ballet, for it is much more than that – is an eerie, thrilling and wonderfully collaborative piece of dance, led most assuredly and most grotesquely by Royal Ballet principal Edward Watson, here touring to the Joyce Theater, New York.

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.