LAUREN KAY

Moses Pendelton and his vision for Momix — Momix founder and choreographer Moses Pendleton fits the bill of a mad dance scientist: His creations are otherworldly – etched with ethereal visuals that incorporate inventive technology – and since he asks dancers to slip between classical technique and acrobatic pyrotechnics, he seems disinterested in the rules […]

In a new home, Triskelion Arts helps keep scrappy dance alive — In 2000, five young dancers rented a loft on a mostly-deserted street in a still-questionable Brooklyn neighborhood called Williamsburg. They toiled to make Triskelion Arts, the new space, a home not only for their own choreographic endeavors, but also a center for artists […]

Inside the killer choreography of An American in Paris — While the dance world at large continues to wage an uphill battle (see: the closing of Cedar Lake Contemporary Ballet), Broadway is enjoying a surge of dance-heavy shows. The charge is led by three musicals currently on the boards. Gigi and On the Town – […]

Performance secrets from Gigi ‘s female ensemble

By LAUREN KAY Modern dance icon Merce Cunningham was an innovator not only in angular shapes etched in otherwise flowing movement, but also in choreographic structure: Among other variables, he used chance to determine which sections of choreography were to be performed—and in what order— creating what was called an Event. As Cunningham’s right-hand man […]

By LAUREN KAY The most famous song and dance men—the Fred Astaires and Gene Kellys—are synonymous with debonair style, majestic movement, and a surplus of charm. And while the ranks of these elegant performers may have dwindled as tastes have changed, those nostalgic for swift-footed dancing and perfectly harmonized Gershwin tunes can enjoy the Encores! […]

In dance reputation terms, Manhattan has made its mark with stalwart institutions like American Ballet Theatre and Lincoln Center, as well as 1960s-bred, avant-garde downtown companies. Brooklyn’s dancescape is known for Mark Morris, BAM, and even more experimental flavors. But do audiences ever think of—or even recognize—what could be called “Queens-style” dance? Karesia Batan thought […]

And while it’s rare enough for an actress to land such a major part, Faure’s journey to top billing has been especially unusual: Most recently, she left the ensemble of Bullets Over Broadway to start her new job, a swift exit that certainly wasn’t part of her plan: Last year, she says, “when I was in Honeymoon in Vegas at Paper Mill Playhouse, I knew it might have a Broadway life at some point, an