En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Joyce Theater

Mark Morris Dance Group’s second week at the Joyce Theater in New York unveiled a world premiere in a mixed bill that represented a narrow range of Morris’ dazzling creativity.

An interesting triple bill with some rarely seen Paul Taylor works carefully reconstructed. Esplanade still sends the audience home filled with joy.

An intriguing reconstruction of an early work by Paul Taylor created on Pina Bausch and Dan Wagoner and a classic of barbed satire made a powerful triple bill by PTDC.

Parsons Dance are really worth watching in an engaging mixed bill at The Joyce Theater.

Magnificent dancing in Trisha Brown classics from the 1980s and in a new work by her mentee, Lee Serle, transcend less than compelling stagecraft at New York’s Joyce Theater.

A.I.M by Kyle Abraham at the Joyce Theater proved to be a mixed offering with his own piece, 2x4, coming off best.

Martha Graham Dance Company impresses in its third program at The Joyce Theater, especially in Errand into the Maze.

Janet Eilber has done an amazing job of steering the Martha Graham Dance Company into the modern age with multiple mixed programs.

More centenary celebrations by the Martha Graham Dance Company: the first of several mixed bills this season displays the Graham dancers at their most powerful.  

A mixed bill with mixed results from Hubbard Street Dance Chicago at the Joyce Theater in New York.

Anima Animal is disappointing choreographically, but Herman Cornejo delivers a star turn.

Three very different vintage works by Ronald K. Brown on offer at the Joyce Theater on the occasion of Evidence's 40th anniversary.

Ragamala Dance Company's new Children of Dharma tackles the weighty theme of war but it's the beauty of the dancing that grabbed me 

Nothing is too precious: Les Ballets Trockadero de Monte Carlo brilliantly re-envision Raymonda, Swan Lake, Dances at a Gathering, The Dying Swan, and Merce Cunningham.

This is a wonderful company and worth seeing in absolutely anything.

Andrea Miller and her GALLIM dance company have brought an evening-length WONDERLAND to New York's Joyce Theater after 14 years of tinkering and touring. The dancers are daring; the gems are few.

Classic Paul Taylor and a Rennie Harris tour de force form the highlights of Dayton Contemporary Dance Company's visit to New York this week. 

While most in the audience at New York's Joyce Theater might not have known the original London City Ballet, their affection was palpable at the close of this program. 

It was a priceless chance to see some of the best and rarest of Paul Taylor.

Authentic expression of one’s inner nature is swapped for the aims of the bloc until the very end.

Inspired by the fall of the Berlin Wall and the AIDS crisis, Pontus Lidberg's On the Nature of Rabbits comes to New York's Joyce Theater.

Two world premieres and a piece created in 1975. Tharp herself came onstage to raucous applause. She might be “pop dance”, but audiences love it.

A performance that initially struggled, concluded on a joyous, infectious note.

A thoroughly engaging evening of dance, with a live band on stage.

If dance is meant to be a mix of art and entertainment, MOMIX occasionally tipped too far into the “pure entertainment” part.

Two stimulating world premieres from Dwight Rhoden and Jenn Freeman, plus outstanding dancing, as always, from the powerful dancers of Complexions Contemporary Ballet at the Joyce Theater. 

An engrossing triple bill of dances by Kyle Marshall premieres in New York, each with a uniquely compelling score. 

Hope Boykin, a mainstay of the Ailey company for 20 years, wrote and choreographed a dance theatre exploration of her own journey through the dance world.

Choreographer-composer Olivier Tarpaga brings a new work to New York's Joyce Theater, inspired by the resilience of the displaced women who occupy a large-scale refugee camp installed in Burkina Faso.

BalletX, a contemporary ballet company that prides itself on its diversity and its commitment to commissioning new work, brings an ambitious and mostly successful mixed bill to the Joyce Theater.

Billed as a Black, gay fairytale set in a nightclub, this collaboration between serpentwithfeet, poet Donte Collins, choreographer Raja Feather Kelly and director Wu Tsang is a joyful fable.

Martha Graham's choreography, often inspired by Greek mythology, still has the power to shock.

Naharin’s Gaga technique is this delicious, ooey-gooey, melting morass where sensation rather than skill guides the phrases

Not every Ashton work is a masterpiece, but Sarasota Ballet presents these Ashton works with such love and care, it ensures that even if the ballets won’t “keep”, they aren’t forgotten.

The feeling at the end of the evening was one of triumph, with the future of the Martha Graham Dance Company looking as optimistic as the frontier couple in Appalachian Spring.

Martha Graham's dancers look terrific in the jumble of ancient and recent works that make up Program B at the Joyce. 

Does the world really need another Nutcracker? Turns out the answer is yes, if it's as clever and well-done as Michelle Dorrance's version.

The program notes include a quote by August Bournonville that says, "The Dance ... is essentially an expression of joy." And in this short but sweet program the company proved that it can still give a master class in showing the joy of The Dance.

Despite the uneven performances, the evening offered a painful reminder: the future of Cunningham's opus is fragile and delicate. With his own company disbanded, his future is in the hands of dancers who are not trained in his technique and did not have the good fortune of working directly with the great choreographer.

This program illustrates the difficulties of a dance company attempting to forge a path forward without the towering vision and talent of its founder.

To Create a World creates a dystopian world that confuses as much as it answers. Miller's movement has a strong individual voice with constant movement and go-for-broke physicality.

The single best thing about The Tenant was Frank Moon’s score, played by Moon himself on the piano, violin, and singing.

Kyle Abraham’s A.I.M opened the Lar Lubovitch-curated NY Quadrille at the Joyce with Dearest Home, a deeply personal work.

At its best, Lubovitch's work elevates the spirit and serves as a reminder that there’s beauty in the world.

Dada Masilo’s Giselle is about her redemption, not his.

Bravo to Tulsa Ballet for doing everything they needed to do for a successful appearance at The Joyce Theater.

There’s always this hazard in self-produced works: you operate in a bubble where no one tells you that you need to look more outward and less inward.

Fagan embraces multiple generations of dancers and they reward the audience with the richness and depth of their experience.

Dresden Semberoper Ballett came across as a troupe of seasoned and versatile performers who move with fluidity in diverse repertory.

Once again, kudos to Adam Sklute and Ballet West for putting on a program of mostly new or recent works created for the company.