Dance
Child’s Play
Look. I’m part of the crowd gathering at the Brooklyn Academy of Music’s Howard Gilman Opera House on a warm November night. The orchestra is flush with excitement; there are no little expectations here. We’ve come to see an institution: German choreographer Pina Bausch, the leading figure of the late twentieth-century avant-garde, master of malaise and non sequitur, producer of such iconic works as Café Müller (1978) and Nelken (1982).
Dancing on the Rail
By Vanessa MankoThe Radio City Rockettes have come out of their 11-month hibernation, and so, too, has the perennial classic The Nutcracker. Beyond their shared month in the spotlight, it would seem that these dance performances have little else in common.
Fostering an Underrepresented Dance Audience: Dancers
By Claudia La Rocco, Kathryn Enright, and Jessica WeissSix nights, 30 companies, $10 a pop: Earlier this year, City Center offered dance lovers a feast with the Fall for Dance Festival. Anyone who has calculated the median age of audience members at the city’s larger dance theaters (or of the reviewers, for that matter) can tell you that the dance world is desperate for new blood.
