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Lisa Kron, playing dance critic Walter Terry, has short brown hair, is dressed in a tan suit and wears thick-rimmed glasses, sits with their legs crossed and a notebook on top of their lap. Opposite, Richard Move as dance icon Martha Graham sits regally in a long dark dress, their hair up in a bun, and their eyes highlighted with dramatic eyeliner. Between them, is a small table with a vase of white flowers, and behind them are two women in a unison dance shape: bowed forward, with one leg extended high up behind them.
Photo: Andrea Mohin
  • Reviews

Long Live the Queen

Brendan McCall

It’s 1963 and 2025 and Richard Move IS Martha Graham

Wen Hui, a Chinese woman dressed in a red striped shirt and black pants, looks down past her nose at Japanese counterpart, Eiko Otake, while reaching a claw-shaped hand out to Otake’s face. Otake wears a baggy white dress that hides her form. One of her hands meets Wen Hui’s upper arm, while the other pulls Wen Hui’s hand to her face.
Photo: Zhou Huiyini
  • Reviews

War is (in)human

ankita

We are all tangled. Do you understand?

Richard Move wears a tight sheer dress of a rich dark blue, with only their face, hands, and feet visible. Their legs are open wide, only the balls of the feet on the floor, and they extend their gripped hands to the left as they dramatically turn their head to the right. Fans of modern dance will recognize that this image is a recreation of the dance solo "Lamentations" by Martha Graham.
Photo: Josef Astor
  • Interviews

Being Martha at BAM

Brendan McCall

Richard Move on embodying Martha Graham in the 21st Century

A dancer stands in a wide lunge with arms reaching wide and palms facing upward as if she is scooping the air above her. She wears a geometric red and grey leotard with black pants and a line of white face paint framing her chin. She is doused in a deep red light.
Photo by Steven Pisano
  • Reviews

Garlic and Power at Out-FRONT! Fest.

Rachel DeForrest Repinz

Angie Pittman and Kyle Marshall Choreography deliver a powerful split bill as part of the radical queer dance and film festiv

A group of dancers all dressed in white are clumped together in front of a blue backdrop that has 2 pillars running down them. The dancer in the front is kneeling with her arms lifted to the side with bent elbows and her hands in fists. Behind her are two couples leaning away from center and each has one arm raised with a bent elbow and hand in a fist. All of the dancers look either down or out, with a serious and contemplative expression.
Photo: PC Nir Arieli
  • Reviews

Still/Here: 30 Years Later

Kristen Shahverdian

Care, strength, and presence permeates the remount of Still/Here.

Photo: Paula Court
  • Reviews

Masterful Movements

Eleanor Goudie-Averill

This is a dance that knows where it comes from. This is dance you can trust. With Bleed,Tere O'Connor may just have created a masterpiece.