Stunning movement, slow development: Netta Yerushalmy's Devouring Devouring in NYC

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.

Luke Murphy’s duet for himself and Carlye Eckert, Drenched, was surprisingly well-suited to the smaller First Floor Theater at La MaMa Moves! festival, but failed to bring to light any new ideas or juxtapositions of its male–female relationship theme.

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.

A triple bill comprising Balanchine's Symphony in C, Agon and Firebird could not have been more inspiringly danced by New York City Ballet.

This revival of Romeo and Juliet combines vivid staging and technical leads, but the lover's careful partnership lacks the volatility that makes young love convincing and tragedy believable. 

Carlos Acosta's Don Quixote for Birmingham Royal Ballet returned to Sadler's Wells with polished but low-key interpretations across the board.