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NYU Skirball is making the news. Catch up on our press clippings here.

2017-2018 | 2018-2019 | 2019-2020

2019-2020

2019-2020 Season Announcement

May 15, 2019

New York Times Announces 'White Noise' Debut at Skirball

“New York fans of Daniel Fish’s Tony-nominated production of “Oklahoma!” will soon have the opportunity to experience another remix of an American classic by the director.”

JoAnne Akalaitis: BAD NEWS! i was there...—September 6-8, 2019

September 8, 2019

New York Times Reviews "BAD NEWS, i was there"

“It’s about how bad news — the giving and the receiving of it — constitutes us as a community who now know just how wrong things can go.”

September 3, 2019

American Theater Features "BAD NEWS, i was there..."

“Of course, the messenger is also a storyteller—one charged with passing on not only the facts, but their affective impact. In doing this they must relive the horror, embody it, share it, and evoke the audiences’ emotional responses.”

Philippe Quesne: The Moles—September 13-14, 2019

September 16, 2019

New York Times Features "Parade of the Moles"

“Watching these shambling insectivores quarrel and cavort invites us to meditate on what it means to be an animal, human or otherwise. And if you didn’t feel much like meditating, you could just shake your snout, clap your paws and dance along.”

Daniel Fish: White Noise—September 20-22, 2019

September 22, 2019

New York Times Reviews "White Noise"

“It all begins with a man in a hole. Or rather, it begins with the hole itself, which occupies the center — dead center, I should say — of the screen that fills the stage at N.Y.U.’s Skirball Center.”

Wild Bore—September 27-28, 2019

September, 2019

Brooklyn Rail Interviews Coombs Marr, Martinez, and Truscott

“Perhaps staging a panel discussion would put them on equal footing with their critics—but they didn’t want to actually bore anyone. So: a panel discussion in which the panelists moon their spectators.”

2018-2019

2018-2019 Season Announcement and Misc.

May 7, 2018

New York Times Announces 'Long' Season at Skirball

“Taylor Mac isn’t the only one doing 24-hour shows. A group of marathon performances will arrive at N.Y.U.’s Skirball Center next season that will test the endurance of both the performers and the audience.”

November 26, 2018

New York Times Recommends "For Colored Girls..." Panel

New York Times recommends a panel featuring Donna Brazile, Yolanda Caraway, Leah Daughtry, and Minyon Moore who will discuss their book “For Colored Girls Who Have Considered Politics”

August 21, 2018

New York Times Announces Feature Film Featuring Skirball Director

“For about a year beginning in 2013, Brian Rogers, a film director and video and sound artist, found himself living — half a week, every week — in a former Catholic church in upstate New York.”

April 1, 2019

New York Times Recommends Stonewall Skirball Talks

A panel reflects on the legacy of the Stonewall rebellion and the L.G.B.T. rights movement at New York University’s Skirball Center for the Performing Arts in Manhattan.

Forced Entertainment—September 8-16, 2018

September 5, 2018

New York Times Features Forced Entertainment on Weekly E-Blast

“…get to know the British theater company that cast a bottle of vinegar bottle as … Hamlet.”

September 6, 2018

New York Times Includes Forced Entertainment in Weekend Listing

“In “And on the Thousandth Night …” a handful of actors will greet the dawn with a bedtime story that never quite ends. And on subsequent nights those same performers will act out the complete works of Shakespeare in 36 solo performances with an assist from common household objects.”

September 5, 2018

New York Times Interviews Tim Etchells of Forced Entertainment

“…inanimate objects, epic performances and why most Forced Entertainment shows — the Skirball ones, too — are built to fail.”

September 12, 2018

New York Times Reviews 'Table Top Shakespeare'

“There is something of the nursery in the show’s insistence on unfettered imagination, and something of the bedtime story in the way the best of these tales unfold. They’re not soporific but soothingly mesmeric, even the tragic ones. They’re at close range, too, with the audience seated onstage.”

Time Out Recommends 'And On The Thousandth Night...'

“Inspired by the legend of Scheherazade, eight members of the visiting U.K. troupe Forced Entertainment—dressed in ragged royal costumery—improvise a six-hour story that builds on itself and borrows from a vast array of sources old and new.”

Bill T. Jones/Arnie Zane Company: Analogy Trilogy—September 22-23, 2018

September 12, 2018

New York Times Includes Skirball in Fall Preview for Dance

“This fall’s dance calendar will feature inventive takes on old favorites and intriguing new works.”

September 18, 2018

New York Times Interviews Bill T. Jones

“For one thing, he has removed the word “dance” from his company’s name. ‘We’re a contemporary performance ensemble,’”

September 14, 2018

Dance Magazine Features Analogy Trilogy

“Bill T. Jones is one of the few choreographers who can weave together social consciousness with choreographic inventiveness.”

September 20, 2018

New York Times Includes Bill T. Jones in Dance Pick

“For the past four years, Mr. Jones has found inspiration in transforming oral histories into dance-theater productions.”

Boris Charmatz: 10000 Gestures—September 27-28, 2018

September 25, 2018

Dance Magazine Features 10000 Gestures

“In his new piece, 10000 Gestures, each action is different—no repeats. This week, a horde of more than 20 dancers invades New York City’s NYU Skirball Center, each of them cramming a thousand gestures into one hour.”

September 27, 2018

New Yorker Features Boris Charmatz

“Each of its titular motions for a cast of twenty-five may be as small as a blink or as big as a leap, but, once executed, it does not recur. In place of conventional choreographic patterns, there’s a dense, bewildering rush, and Mozart’s “Requiem,” to make you think of death.”

September 27, 2018

New York Times Includes Boris Charmatz in Weekly Arts Picks

“Some choreographers live for repetition, while others, like the French choreographer Boris Charmatz, at least in his 2017 work “10000 Gestures,” deliberately fights against it.”

Tere O'Connor Dance: Long Run—October 12-13, 2018

October 8, 2018

Pod De Deux Interviews Tere O'Connor

“Tere related his choreographic processes to the nature of the mind itself, which remains in and out of a constant episodic flow of consciousness.”

October 12, 2018

New Yorker Recommends 'Long Run'

“As tangential in sequence and unfixed in meaning as free-associative poetry, Tere O’Connor’s masterful works resist capsule description.”

October 9, 2018

New York Times Interviews Tere O'Connor

“When a choreographer is in the middle of creating a new dance, there’s an inevitable freak-out moment. “

October 14, 2018

New York Times Reviews Tere O'Connor

“He doesn’t, however, show us different things happening irrespective of one another. Everything seems connected, part of the same intricate organism.”

October 11, 2018

New York Times Features Tere O'Connor in Weekend Dance Picks

“…challenging his eight dancers to find calm despite negotiating numerous physical tasks involving polyrhythms, velocity and duration.”

Time Out Recommends 'Long Run'

“Eight dancers perform the New York premiere of O’Connor’s 2017 work, for which he composed his own musical score. The piece explores tensions between formality and emotion.”

Karl Marx Festival: On Your Marx—October 17-28, 2018

October 15, 2018

Washington Square News Interviews Jay Wegman

“In keeping with this idea, drawn from Marx’s writings, the festival will be entirely pay-what-you-wish. Guests will be presented with an itemized budget before each event, detailing how much it cost to put the event together.”

October 19, 2018

New Yorker Recommends 'Brujx'

“Her new piece “Brujx” is part of Marx Festival: On Your Marx, and its socialist theme is the oppression of the proletariat: whether the idea of dance as labor can be transcended through a kind of primal magic.”

November 27, 2018

The Nation Features 'Choral Marx'

“‘I wanted my setting of Choral Marx to be a complicatedly multiple work that asks how Marx might reverberate now, at this political moment when we’re asking some very basic questions about world capitalism and how it is propelled by racism and nationalism.’”

Brooklyn Rail Features 'Marx Festival'

“The power of Marx and his writings is the revolutionary way of seeing, giving individuals an alternate lens through which to view and dissect the seemingly inevitable progression of capitalism.  His ideology became a tool—a weapon—and as with all such items, its usage depends on the hand that wields it.”

October 18, 2018

New York Times Includes Luciana Achugar in Weekend Dance Picks

“This Brooklyn-based choreographer, originally from Uruguay, presents the premiere of “Brujx,” in which she continues her investigation of dance as a healing art by ritualizing the labor of her dancers.”

October 25, 2018

Hyperallergic Reviews 'P Project'

“The crazed alacrity of the young audience was morbidly fascinating. I suspected that many were students in NYU’s various performance programs, and that many had found online videos of other presentations of P Project…”

January 10, 2019

Vice News Features 'Marx Festival'

““On Your Marx”– a two week long jubilee hosted by NYU to celebrate 200 years of Marx commenced. VICE News took a look at Marxist performance art, academic panels, and whatever Slavoj Zizek was thinking four minutes ago.”

Time Out Recommends 'Marx Festival'

“Theatergoers of New York, unite! You have nothing to lose but your time. NYU Skirball presents a two-week festival to commemorate the bicentennial of beard-stroking communist forefather Karl Marx.”

Mount Olympus: To Glorify The Cult Of Tragedy—November 10, 2018

September 23, 2018

New York Times Examines Fabre Controversy

“While the allegations against Mr. Fabre are specific, they have also raised larger questions: whether dancers, trained from an early age to obey teachers, directors and choreographers, in an environment where physical proximity is a given, find it difficult to refuse inappropriate or excessive demands.”

November 8, 2018

New York Times Includes Mount Olympus in Weekend Dance Critics' Picks

“How do you encompass the stories and myriad characters of Greek tragedies in a single evening of theater? You don’t. You need a full day, or so proposes the avant-garde Belgian director and choreographer Jan Fabre.”

November 9, 2018

New York Times Investigates Fabre Controversy

“Belgian activists, including some who once worked with the acclaimed multidisciplinary artist Jan Fabre, have demanded New York University do more to address allegations of sexual harassment against Mr. Fabre as his company prepares to perform at N.Y.U. on Saturday.”

Dance Heginbotham/Amy Trompetter: Fantasque—November 17-18, 2018

November 15, 2018

New York Times Includes 'Fantasque' in Weekend Picks

“The choreographer John Heginbotham and the puppeteer Amy Trompetter create a world of large and tiny puppets alongside dancers to explore issues of morality. Fantastic characters, including giant babies, blue angels and heroic rats, come to life in a series of vignettes.”

November 16, 2018

New Yorker Features 'Fantasque'

“Set in motion by a suite of piano pieces by Rossini and Respighi, Heginbotham’s dancers and Trompetter’s homemade-looking puppets enact a kind of dance fable about the clash between good and evil, darkness and light.”

November 16, 2018

New York Times Features 'Fantasque' in #SpeakingInDance on Instagram

“The joyful finale of John Heginbotham’s “Fantasque,” set to music by Respighi, reminds the dancer Lindsey Jones of the “flowy freedom” of Isadora Duncan.”

November 18, 2018

New York Times Reviews 'Fantasque'

“The word “fantasque,” originally French, is both noun (meaning fancy, fantasy) and adjective (meaning fanciful, fantastic).”

Time Out Recommends 'Fantasque'

“A collaboration between choreographer John Heginbotham and puppeteer Amy Trompetter, this inventive pageant features giant babies, heroic rats and blue angels, rendered through a mix of live dancers and puppets large and small.”

Briefs: The Second Coming—January 6-7, 2019

January 9, 2019

Exeunt Reviews 'Briefs'

“Many have attempted the genre of burlesque revue, but Briefs, I’m happy to report, is among the best — smart, irreverent, and funny, with sex appeal to spare. The company’s ability to couple awe-inspiring physical feats with comedy and choreographic panache is where it finds its success.”

January 30, 2019

Broadway World Reviews 'Briefs'

“The bit was full of bone-juggling fun and the performers diving through hula hoops, escalating until it ended with one of the humans getting a mouthful of faux dog poop. Disgusting? Sure. But it was a clear sign that their talk of pushing boundaries wasn’t just for show.”

Broadway Blog Reviews 'Briefs'

“Opening with a full ensemble number of pulsating burlesque fans and breakaway costumes, Fa’anana declared the night was going to be “a bit of butch with a f*ckload of camp.” What was promised was delivered.”

Elevator Repair Service: Gatz—January 23-February 3, 2019

March 19, 2012

Time Out Reviews 'Gatz'

“An aesthete who elevated recitation over print, Wilde would have been quite flummoxed by Gatz, the jaw-dropping literary installation by Elevator Repair Service. This eight-hour-plus immersion—in which 13 actors read aloud every blessed word of F. Scott Fitzgerald’s The Great Gatsby—is thoroughly aural, even musical.”

January 1, 2019

New York Times Includes 'Gatz' in 10 Events to Look Forward to in 2019

“Here was a show that improbably transformed the intimate relationship between a reader and a book into a joyously collective act of literary seduction, performed by a chameleon cast of 13, and it became the season’s most coveted ticket.”

January 22, 2019

Daily Beast Interviews Scott Shepherd

“‘There is a recitation of The Great Gatsby embedded in what we do, but that is not the totality of what we do,’ said Collins. ‘In Scott as Nick, this is the story of someone becoming completely lost in a great novel. And it is a slowly emerging hallucination of the novel against a very unlikely backdrop.’”

Campo/Milo Rau: Five Easy Pieces—March 7-9, 2019

October 3, 2018

New York Times Features 'Five Easy Pieces' Director Milo Rau

“Mr. Rau’s taboo-challenging productions over the last decade led one publication to call him “the world’s most controversial director.” Born in Bern, Switzerland, he broke out in 2009 with “The Last Days of the Ceausescus,” about the trial and execution of Romania’s Communist leader and his wife; he was sued afterward by Ceausescu’s son for using the family name.”

March 9, 2019

New York Times Reviews 'Five Easy Pieces'

“For Milo Rau, making his American stage directing debut, the perversity is the point. Commissioned to create a work of children’s theater, he set out to redefine what that genre could mean — and also, it seems, to live up to his reputation as ‘the world’s most controversial director.’”

January 9, 2019

New York Times Includes Milo Rau in 7 Adventurous Theatre Directors

“He broke out in 2009 with “The Last Days of the Ceausescus,” about the trial and execution of Romania’s Communist leader and his wife, while “La Reprise” — in which he re-enacts the murder of a gay man in Belgium — was the talk of this year’s Avignon Festival.”

April 17, 2019

New York Times Features Milo Rau's Mosul Production

“Greek tragedies may go back 2,500 years, but theater directors continue to find them extraordinarily resonant, sometimes staging them in contemporary settings or finding other ways to emphasize how pride and passion, ancient or modern, can bleed out and leave a society in ruins.”

Time Out Recommends 'Five Easy Pieces'

“Swiss director Milo Rau and his pot-stirring documentary-theater troupe, the International Institute of Political Murder, turn their sniper’s eye on the story of Belgian pedophile and serial killer Marc Dutroux.”

A.I.M: Live! The Realest MC—April 4-6, 2019

March 28, 2019

New York Times Features A.I.M. in Weekend Dance Picks

“Pinocchio always wanted to be a real boy, and the choreographer Kyle Abraham is wondering what that even means today. In “Live! The Realest M.C.,” Abraham uses the children’s tale as a starting point to dissect gender roles and black masculinity in the context of hip-hop culture.”

April 1, 2019

Broadway World Interviews Kyle Abraham

“But if you’re a black American, nothing has changed. People were spitting on us and making us feel inferior for a very long time, so I don’t feel any different with the current president in office– if that’s where people try to perceive in this work.”

March 31, 2019

Hollywood Soapbox Interviews Kyle Abraham

“’For me, it was definitely in some ways an abstracted look back at my high school experience, but more than that because identity is a big part of the work and in some ways a buzz word that people are using today for whatever reason…’”

April 4, 2019

The New Yorker Features Kyle Abraham/A.I.M.

“In it, Abraham, wearing a long skirt, played with conventions of toughness and urban attitude. Now, more than a decade later, his ideas about identity and self-presentation have deepened, unfolding in a wider spectrum of colors.”

Time Out Recommends 'The Realest MC'

“The ever-rising Abraham revisits his 2011 exploration of hip-hop culture, the Pinocchio story and notions of masculinity in the black community. A.I.M company member Jeremy “Jae” Neal performs the role previous played by the choreographer.”

Stephen Petronio Company: Bloodlines—April 11-13, 2019

April 4, 2019

New York Times Recommends 'American Landscapes' in Weekend Dance Picks

“Petronio presents the fifth edition of “Bloodlines,” an autobiographical project that pays homage to the creators of postmodern dance and traces the choreographer’s own influences.”

April 9, 2019

New York Times Features Stephen Petronio Company

“…the Judson founders Steve Paxton and Trisha Brown —“it was not about emotion. It was about motion and the rules of motion. So that separated him in a certain way, and I was very curious.””

April 12, 2019

New York Times Reviews 'Bloodlines'

“In the foreground, dancers, sleekly costumed by H. Petal, etch geometric patterns onto the stage in front of numerous scenes: a barren forest, an exploding bomb, a soldier walking down a street, a torn flag.”

Cunningham Centennial: Conversations With Merce—May 3-4, 2019

April 15, 2019

WNYC Features Merce Celebration

“Later in the month, the Joyce Theater will host three different companies presenting different Cunningham works, while the Skirball Center presents In Conversation with Merce, featuring different dancers’ responses to the choreographer’s legacy.”

May 1, 2019

New York Times Features 'Merce' in #SpeakinginDance on Instagram

“Part of “In Conversation With Merce” at @nyuskirball on Friday and Saturday — Mina is one of 3 dance artists exploring their relationship to the choreographer — “Hi, Merce!” combines text with Mina’s effervescent take on Butoh, a dance form that emerged in post-World War II Japan.”

May 3, 2019

New Yorker Recommends 'In Conversation with Merce'

“Netta Yerushalmy explores Cunningham’s dance vocabulary. Mina Nishimura, who hails from Japan, seeks a nexus between Cunningham’s abstraction and the expressionist dance style Butoh. The wild card is Moriah Evans…”

April 27, 2019

New York Times Recommends 'Merce' in Weekly Arts Picks

“Just because his 100th birthday has passed — observed with the breathtaking multicity event “Night of 100 Solos” — doesn’t mean we are done celebrating Merce Cunningham or contemplating his vast legacy.”

May 2, 2019

New York Times Features 'Merce' in Weekend Dance Picks

“This presentation, curated by Rashaun Mitchell, a former company member and a trustee with the Merce Cunningham Trust, explores the theoretical, practical and experiential approaches to Cunningham’s work. Three respected choreographers take part: Moriah Evans, Mina Nishimura and Netta Yerushalmy.”

Spring 2019

Brooklyn Rail Shares Conversation with Merce

“It’s about how do you continue rather than simply stopping . . . I think one thing that in the theater you have to learn: That when you go off, you are exiting. Don’t finish what you’re doing before you’re really off.”

Time Out Recommends 'Conversations with Merce'

“NYU presents new works commissioned for the centenary. Rashaun Mitchell, who danced with Merce Cunningham’s company, curates a program that features Netta Yerushalmy, Moriah Evans and Mina Nishimura.”

2017-2018

2017-2018 Season Announcement and Misc.

July 10, 2016

New York Times Announces Skirball's New Director

“At Skirball, Mr. Wegman said, he plans to build out the theater’s international programming by taking advantage of connections N.Y.U. faculty members may have. He also wanted to see what he could do to “embrace Broadway.” “It’s this great-sized theater,” he said. “Physically, and even programmatically, it’s where uptown meets downtown.””

September 8, 2017

New York Times Includes Highlights from Skirball's Season in Fall Arts Picks

“This is the first season organized by the Skirball’s new director, Jay Wegman, The official start comes on Sept. 15 with a free immersive dance party masterminded by the collective AUNTS.”

May 19, 2017

New York Times Announces First Season with Skirball's New Director

“Skirball’s new season, which the center announced Friday, is accordingly ambitious, as if the Brooklyn Academy of Music had opened an outpost in Manhattan: adventurous productions of classics like “The Pirates of Penzance” and concerts with music by the downtown composers David Lang and John Zorn.”

October 6, 2017

New York Times Features Jay Wegman Among Many New Directors

“’We held focus groups and discovered students weren’t coming because they thought the programming was for their parents or grandparents,’ he said.”

AUNTS—September 15, 2017

September 14, 2017

New York Times Features 'AUNTS' in Weekly Dance Picks

“There’s dance that happens onstage, between the curtains and then everything else. The everything else is the realm of AUNTs, an unconventional dance platform that since 2005 has been scrambling our assumptions about how to see and experience the art form, turning performances into immersive parties.”

Faustin Linyekula: In Search of Dinozord—September 22-23, 2017

June 26, 2017

New York Times Announces 'Crossing the Line'

“Mr. Linyekula’s “In Search of Dinozord” — a politically minded fairy tale about the Congo, set to fragments of Mozart’s Requiem — will also have its American premiere as part of the festival, with a brief run at the Skirball Center for the Performing Arts.”

September 5, 2017

New York Times Features Faustin Linyekula

“Talking to the dancers, he briskly summarized his home country as “quite a messy place,” beset by massacres and wars that never really end, where “if 100 people die, it is not news.” In such a place, imagining any future, much less a better one, is an exercise of extreme will. “I have to fight for it,” he said. “I have to invent it.””

September 25, 2017

New York Times Reviews 'In Search of Dinozord'

“Between passages of precarious movement — a skittering dance for Mr. Ebotani that ends with him collapsing to the floor; a duet in which one man arranges another’s unresponsive limbs; an electrifying solo for Mr. Kumbonyeki to Jimi Hendrix’s “Voodoo Chile”…”

Mette Ingvartsen: 7 Pleasures—September 29-30, 2017

September 28, 2017

New York Times Recommends '7 Pleasures' in Weekly Dance Picks

“It’s long been a cultural stereotype that Americans are prudes. So what better way to confront our discomfort with sex and nudity than to fill a theater with naked dancers simulating sex? In “7 Pleasures,” the Danish choreographer Mette Ingvartsen presents 12 dancers in what has been called a “choreographic orgy.””

The Freedom Theatre: The Siege—October 12-22, 2017

September 8, 2017

New York Times Recommends The Siege in Fall Theatre Picks

“The story of the 2002 siege of the Church of the Nativity in Bethlehem, in which a group of armed Palestinian fighters sought refuge in the church, comes to the United States from the political theater company Freedom Theater, based in a West Bank refugee camp and focused on issues related to the Palestinian experience.”

October 17, 2017

New York Times Reviews 'The Siege'

“No matter what the laws of physics decree, there is untold and explosive energy in resistance. Or such is the evidence of “Burning Doors,” the Belarus Free Theater’s bruising exploration of the dynamics of resistance — the kind that occurs in the intersection of art and politics — at La MaMa.”

Once Upon A Drag—October 29, 2017

October 26, 2017

New York Times Includes 'Once Upon a Drag' in Family Events Picks

“Creative costuming is at the heart of Halloween, and who’s more of an expert than New York’s drag performers? At this Greenwich Village celebration, billed as “for kids of all genders and ages,” eight entertainers promise not only a costume party but also a performance of fairy tales whose plots and lessons have been adapted for contemporary relevance.”

Rick Prelinger: Lost Landscapes Of New York—November 12, 2017

November 8, 2017

New York Times Features 'Lost Landscapes'

“In one flickering instant you see the New York of the original Penn Station (gone in 1964), in another you ride the Third Avenue Elevated, a railway that once ran the length of Manhattan like a zipper. Hovering over streets and sidewalks, it delivered multitudes while casting dappled shadows made for beauty shots and sometimes poetry.”

The Hypocrites: Pirates of Penzance—November 29-December 10, 2017

November 27, 2017

New York Times Interviews Sean Graney

“For this freewheeling theater troupe that specializes in updated classics, bringing its popular production of “The Pirates of Penzance” to New York would require more than setting up the three plastic swimming pools and functioning tiki bar on a stage that will be shared with the audience.”

December 1, 2017

New York Times Reviews 'Pirates of Penzance'

“They bring to mind (shudder) the sort of determinedly fun-loving counselors you may remember from summer camp. And since it is Gilbert and Sullivan on the bill, you may be excused for dreading that imminent camp of a different and more strident kind, with arch and winking performances of an operetta that is arch and winking to begin with.”

David Lang/ICE: The Whisper Opera—February 2-4, 2018

January 25, 2018

New York Times Reviews 'the whisper opera'

“A soprano, the closest this opera has to a protagonist, mostly walks across intersecting white platforms, amid white lace curtains that billow as she passes. She sometimes hums softly but mostly whispers cryptic phrases and fragments of sentences. The words themselves are often unclear, especially when she wanders away from you.”

Once Upon A Drag: Sleeping Beauty—February 11, 2018

February 8, 2018

New York Times Recommends Once Upon a Drag in Family Events Picks

“This isn’t your typical fairy tale. Then again, these aren’t your typical actors. This show, billed as “for kids of all genders and ages,” features eight New York City drag performers, putting their own spin on the perils of Princess Aurora, with an emphasis on inclusiveness and self-acceptance.”

THISISPOPBABY: RIOT—February 15-17, 2018

February 16, 2018

New York Times Reviews 'RIOT'

“The angry art of protest is flourishing these days, and its forms are as myriad as the grievances it gives voice to: marches, rallies, occupations, boycotts, black evening wear for televised awards ceremonies. Then there is the popular retro-disco-circus protest, featuring family-friendly nudity.”

JÉRÔME BEL: GALA—March 1-3, 2018

February 22, 2018

New York Times Includes 'Gala' in Weekly Dance Picks

“For “Gala,” the French choreographer showcases 20 New Yorkers, some professional dancers and others amateurs, ranging in age from 8 to 80. This structurally simple work, in which performers cross the stage while enacting specific actions, emphasizes, in the end, the power of movement in humorous and poignant ways.”

Gob Squad: War and Peace—March 29-31, 2018

March 30, 2018

New York Times Reviews Gob Squad's 'War and Peace'

“Fear not: Familiarity with the novel is no prerequisite for enjoying this antic show, a madcap mash-up of live performance, prominent video and much audience participation. But, as the members of this experimental company are happy to tell you, their 105-minute devised performance is no substitute for the 1,200-page literary experience.”

LIL BUCK & JON BOOGZ: LOVE HEALS ALL WOUNDS—April 14, 2018

April 10, 2018

New York Times Interviews Lil Buck and Jon Boogz

“But despite their different styles, they started performing together along the tourist-filled 3rd Street Promenade in Santa Monica. Their shows aimed to touch people rather than just entertain them”

April 12, 2018

New York Times Features Lil Buck and V4 Dance Festival in Weekend Dance Picks

“On Saturday, they bring to New York “Love Heals All Wounds,” a vaguely narrative work that touches on police brutality and champions empathy and inclusion.”

MEG STUART/DAMAGED GOODS: UNTIL OUR HEARTS STOP—May 4-5, 2018

May 3, 2018

New York Times Features Meg Stuart and Damaged Goods in Weekend Dance Picks

“For the United States premiere of “Until Our Hearts Stop,” Ms. Stuart — a much-admired American choreographer who has long been based in Berlin and Brussels — returns to New York with a work for six performers and a three-piece onstage jazz band. Here, the dancers and musicians, on bass, piano and drums, explore an intimate space of desire and illusion that is heightened by their proximity.”

Bang on a Can Marathon—May 13, 2018

March 1, 2018

New York Times Features 'Bang on a Can'

“The Bang on a Can All-Stars and Mr. Riley will perform his “Autodreamographical Tales,” inspired by a dream diary Mr. Riley kept in 1987; the piece flows in and out of Indian raga, New Age music and bluesy asides. The All-Stars will also perform Frederic Rzewski’s “Coming Together,” about the Attica prison riots.”