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Tristan Price plays the cello seated on stage with a black microphone positioned in front of him. He wears black shoes, khaki pants and a white button-down shirt. He looks directly at dancer and his mother, Megan Bridge, who is dancing in the foreground, arching backward with one arm extending above her. Bridge wears a white top and grey cargo pants with sneakers.
Photo: Tyler Kline
  • Reviews

A Mother-Son Duo Exchange Expertise

Caitlin Green

His musicianship paves the way for her play.

Three performers dressed in single-color primary colored outfits (one blue, one red, one yellow) express surprise with open mouths. The performer in blue, Kevin Flanagan, grips the wrists of Sierra Rhoades Nicholls, dressed in red; he leans back while supporting her weight as she appears to levitate off the ground, her legs extended in front of her body six inches above the floor. Above her, Liam Bradley, dressed in yellow, pulls their legs up in a tuck jump, feet flexed and arms extended above their shoulders.
Photo: Johanna Austin
  • Reviews

Raw Egg and All, It Works

Ellen Miller

Full Out Formula’s circus act lets the audience decide.

Fanned out in a circle on a white surface are 12 booklets in a range of colors. Here and there are sections of text covered or obscured by other booklets. In the center of this circle is the title piece in a wash of brown darker at the bottom and lightening toward the top. The vague image of pine tree tops on its surface. It reads, Dance across the top and History(s) across the bottom with the subtitle Imagination as a Form of Study in the center. Underneath in smaller letters it reads edited by Thomas F. DeFrantz and Annie-B Parson.
Photo: Jack Lazar
  • Book Reviews

To Us/Because of Us

Emilee Lord

Dance is a Weed

A line of eleven people are holding hands in front of bright large windows, their legs lunging and their heads turned in different directions. They were sweat pants and t-shirts, shorts or tank tops, all of various colors. Some of them are looking to their right and down, others looking up and left.
Photo: Julie Lemberger
  • Reviews, thINKpieces

Approaching the End: Open Rehearsals with Stephen Petronio Company

Brendan McCall

Petronio Company's intimate and moving rehearsals during their final season.

With eyes closed, Nadia Beugré holds a stick in her mouth and tilts her head to the left. More wooden sticks frame her face. She is sweaty, her right arm strong and flexed.
Photo: Werner Strouven
  • Reviews

Le Corps (The Body)

E. Wallis Cain Carbonell

A body of work, a dancer’s body, a home for a human being, a “corps de ballet.”

One dancer kneels on the floor, wearing a long wig and a garment wrapped around their waist. Their feet are bare and flexed, and they lean forward, with downcast eyes and hands near their mouth. The stage behind them is covered with lemons and limes. The dancer is Quentin Chaveriat. He has become a fantasy of surrealist painter and writer Leonora Carrington.
Photo: Shahryar Shahamat
  • Reviews

Queer Butoh Festival: Still Life

Jen George

The Queer Butoh Festival 2025 offers a rare generosity of access, vulnerability, and narrative layering.

Outside on a lovely summer day, an elderly Black woman with a joyous smile wearing a flowery dress with a matching headband is dancing outside. To her left is another Black woman dancing with a smile and wearing a grey felt hat and a white button-down shirt.
Photo: Meg Goldman
  • Reviews

Movement as Community: Revival 9: Neighborhood Stories

Brendan McCall

Dances for a Variable Population highlights seniors´ lives.

One dancer is elevated in a supported position while others provide grounded bases for a lift, demonstrating coordinated weight-sharing and balance. The movement highlights contemporary partnering, spatial precision, and controlled transitions.
Photo: SEB Photography
  • Reviews

Pas de Umbrella: On Weathering the World with Whimsy

Lauren Berlin

39 is a reclamation of the wild child within.

Vyette Tiya (she/her) smiles with her eyes closed and head tilted upwards, arms lofting upwards as she descends downwards. She wears baggy pants and a textured crop top, and is washed in a dark blue light. Two white chains hang in the background above her head. To her left is Daniel Sohn with a mixing board and laptop, focused on mixing for his music. He is wearing a baseball cap, t-shirt, and pants.
Photo: James Izlar
  • Reviews

Fresh Juice 2025: Joy, Heart-Ache, Apocalypse

Zoe Farnsworth

Experimental explorations tackle climate change, queer romance, and more.

JJ Omelagah, holding a mic for Kayla Hamilton, inside of a Movement Research studio. Kayla is demonstrating a movement for the How We Move cohort with both arms pointing in opposing directions. Both folks are masked.
Photo: Whitney Browne
  • Reviews

When Something Does Not Exist, We Must Create It

Rachel DeForrest Repinz

Embraced Body redefines the dance intensive in their inaugural How We Move program.