Noir, Balanchine, and an escape from the conventional novel.
Jillian Peña on the fantasy of ballet, queer temporality, and doubling in her new performance Polly Pocket.
Two recent interpretations of The Rite of Spring challenge the audience in new ways.
Emily Hoffman on the broken patterns in William Forsythe’s Sider, a work that conjures and contends with Elizabethan tragedy.
The artist on performing motherhood and marriage in her new video The Breath We Took and why “write what you know” is limiting advice.
The purest paradigm of the Balanchine dancer, Suzanne Farrell relished performing boldly and off-balance, and the great choreographer created or reworked one masterpiece after another for her…