Luke Murphy's Drenched at La MaMa a tired investigation into the world of relationships

Bourne's Edward Scissorhands may not have quite the dramatic impact of his Romeo and Juliet or Swan Lake, but there is much to applaud and enjoy.

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.

Having reviewed Pavel Zustiak’s Amidst, part two (of three) of his Painted Bird opus earlier this year, I was intrigued to take in the bigger picture by witnessing the entire trilogy on the occasion of its New York première at La MaMa.

Netta Yerushalmy’s Devouring Devouring at La MaMa was the proof that I have needed of late to know that a piece can be interesting and wholly watchable, based solely on the facility and performance quality of the dancers involved. That is not to say that Ms Yerushalmy’s work was boring; on the contrary, I found myself deeply invested from beginning to end.

Dans un dispositif quadrifrontal, huit danseurs – dont le chorégraphe portugais fait partie – se déchaînent absolument sans réserve pendant une heure pleine et transmettent au spectateur une flamme rare et précieuse.

On savait que l'art du chorégraphe grec était électrisant mais il devient carrément fiévreux dans sa dernière création, interprétée avec ardeur par sa compagnie The Lion and the Wolf.