Drama/no drama from New York Theatre Ballet at Judson Church

Giana Parlin and Isaac A. Garcia in Antony Tudor's Little Improvisations

New York Theatre Ballet in Kevin Iega Jeff's Noi-Tar-Gim

New York Theatre Ballet in Julian Donahue's All the Flowers Behind Us

Sarah Stafford (in front) in All the Flowers Behind Us

New York Theatre Ballet in Merce Cunningham's How to Pass, Kick, Fall and Run

Peter Frances James and Paul Lazar in Merce Cunningham's How to Pass, Kick, Fall and Run

By Carla Escoda, 13 April 2026

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“encounters between dancers who embodied either figures in transit or elements of shifting landscape”

Reviewed at Judson Memorial Church, New York City on 10 April 2026

Mixed Programme (Merce Cunningham, Antony Tudor, Kevin Iega Jeff, Julian Donahue)

New York Theatre Ballet

Liam Francis Dance Company in Alchemy: an absorbing London debut

Daniel Pratt, 7th November

Liam Francis Dance Company at The Place brings an instinctive and intelligent debut for a choreographer in-step with what it is to be a dance artist now.

*****

NYCB's winter season begins with Peck's brand new “sneaker ballet”

Ivy Lin, 27th January

The NYCB dancers are very at-home in this idiom, and they threw themselves wholeheartedly into this ballet. It was never less than watchable, but the music cried out for more avante-garde choreography than Peck provided.

****1

‘The Future Bursts in’ with Dance Umbrella

Sarah Kirkup, 24th October

Amala Dianor and CNN Ballet de Lorraine channel the US choreographer in two UK premieres and a Cunningham classic, all brilliantly performed.

****1

The Royal Ballet keeps the Cunningham flame aglow

Graham Watts, 11th October

A brief but innovative tribute to the lasting influence of Merce Cunningham in the Linbury Theatre

****1

NYCB does Cunningham ... and Balanchine

Ivy Lin, 5th October

Judging by the enthusiastic audience reactions to this program one might have to rethink the modern/ballet divide. Maybe there’s only two types of dance – good dance and bad dance.

****1

Merce Cunningham's centennial kicks off at The Joyce

Ivy Lin, 17th April

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.

***11

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Carla Escoda

Born in the Philippines, Carla trained as a ballet and modern dancer with the Alice Reyes Dance Company in Manila. She has lived and worked in Asia and the U.S. and has written about the arts for Bachtrack, KQED (the northern California public media broadcaster), Dance International, dance journal/hk, the Huffington Post, Dance Europe and ballettothepeople.