Reviews

Aylin Bayaz stares fiercely into the camera as her arm whips behind her head, the large red and gold fringed fabric she holds billowing out in front of her, completely hiding her lower body . To her right, Raul Mannola sits in a black suit strumming a guitar, his eyes closed as he listens to the music.
Photo: Richard Clark, Philippe Dedryver
  • Reviews

Flamenco Whenever, Wherever

Caedra Scott-Flaherty

The skillful duet brings to mind a dimly-lit café in Seville.

Abby Donnenfeld appears to have just landed an arabesque leap. She stands on one bent leg, enwrapped in billows of white tool, her other leg abducted, knee bent and toes pointing backward. Her left arm extends to the side, wrist flexed, she holds the opposite end of the billowing tool between her lengthened fingers. Her right arm, extending behind her head, isn’t visible. She looks definitely towards a spot just left of the camera, hair smoothed back, lips red, face relaxed and focused. The background is entirely white and nearly envelopes her white fabric.
Photo: Rob Li
  • Reviews

59th exhale: A night of questions, answers optional.

Xander Cobb

Textured worlds provoke dynamic questionings.

  • Reviews

Come Back Home

Megan Bridge
A man wearing a white corset leans on a woman wearing a black unitard to his right. He extends his left leg, which a second woman wearing a black unitard holds above her shoulder while sitting on the floor
Photo: Jamie Kraus
  • Reviews

Homecoming: Stephen Petronio Company´s Final Season at the Pillow

Brendan McCall

Stephen Petronio Company's Final Bow

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.

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.