On a recent Sunday, in one of Dance Theatre of Harlem’s spacious, sun-drenched studios in its 152nd Street headquarters, Artistic Director Virginia Johnson beamed as she welcomed a standing-room-only audience to a special Sunday matinee, the celebration of DTH’s 48th anniversary.
Virginia Johnson, Artistic Director of Dance Theatre of Harlem (DTH) is excited about the upcoming celebration of the company’s 48th Anniversary on Sunday, February 19 at its 152nd Street headquarters.
Complexions Contemporary Ballet, a company formed in 1994 by resident choreographer Dwight Rhoden and dancer Desmond Richardson, kicks off its 23rd season at the Joyce Theater (Jan. 24-Feb. 5) with two distinctive new programs and a troupe of dancers that will knock your socks off.
Les Ballets Trockadero de Monte Carlo, the all-male comic ballet company, takes the stage at the Joyce Theater (Dec. 13-28) with a program presenting parodies of traditional classical ballets that tickle, tantalize and make audiences laugh out loud while treating them to technically skilled, impressive parodies of such iconic ballets as “Swan Lake,” “Giselle” and others.
“Siete Mares,” a new work by Afro Cuban Orisha Dance Theater, is set to have its world premiere this weekend.
It has been awhile since Ntozake Shange’s paradigm-shifting “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf” exploded onto the theatrical scene in 1973, introducing a provocative new voice and unique genre—the choreopoem.
The power of dance to unite and inspire us while shining a light on important issues will take center stage when the Alvin Ailey American Dance Theater explodes onto New York City’s Center Stage (Nov. 30- Dec. 31) with a sizzling mix of thrilling dances, awesome dancers and mesmerizing music, all of which promise to warm your heart and make your soul dance.
Nov. 16, the famed Netherlands Dans Theater swings into New York’s City Center for a brief season (Nov. 16-19) that highlights the qualities that earned it an international reputation for pushing dance’s boundaries, namely, bold repertory and what one critic called “the world’s most magnificent dancers displaying a retina-shredding sxpectacle of passion and power.”
Misty Copeland’s performance at American Ballet Theatre’s fall 2016 Gala Thursday, Oct. 20, was a delightful display of classical ballet at its most technically challenging and musically responsive.
Since 2005, home for the Alvin Ailey American Dance Foundation has been a sleek, glass-enclosed building on the northwest corner of West 55th Street and Ninth Avenue in Manhattan known as the Joan Weill Center for Dance.