Skip to main content Skip to footer site map

Jennifer Fried

Jennifer Fried Jennifer Fried originally from Northern California received her BA in Classical Languages and Literature in 2012 from New York University. After attending New York University Jennifer enrolled at the University of Pennsylvania’s Post Baccalaureate program in Classical Studies.  While at New York University and the University of Pennsylvania, Jennifer spent a considerable amount time studying dance. She has taken classes contemporary and ballet classes at Peridance Center in New York City as well as at Koresh Dance Company in Philadelphia.  Prior to dancing in New York and Philadelphia, throughout her childhood she attended dance competitions throughout California performing in Ballet, Jazz, Lyrical, Contemporary, Hip Hop, and Tap numbers.   She often attends dance shows in her spare time and recently has seen Cedar Lake Contemporary, Pennsylvania Ballet, New York City Ballet, Paul Taylor, Complexions Contemporary Ballet, Alvin Ailey, New York City Ballet, Ballet X, Pilobolus Dance Theatre, Australia Ballet, and numerous other companies. Jennifer has recently moved back to New York City and is excited to continue her dance education attend dance shows.



BWW Dance Review: BLACK GIRL: Linguistic Play
July 25, 2016

BRIC Celebrate Brooklyn! offered New Yorkers a free evening of empowering music and dance at the Prospect Park Bandshell on July 21st 2016.  The program began with Brandee Younger's glistening jazzy harp music following the traditions of Dorothy Ashby and Alice Coltrane.  Younger's mellow jazzy music scintillated throughout the park as she played original compositions and covers of Coltrane and Ashby. 

BWW Review: Twlya Tharp and Three Dances
July 14, 2016

Seasoned choreographer Twyla Tharp presents two classic pieces and one New York City premier for her 2016 summer season at the Joyce Theatre.  Tharp's choreography ranges from intense to silly and playful blending classical ballet and modern lines with pedestrian movement.  While at times her choreography does not clearly fit together into a coherent piece, the works present a clear vision of contemporary dance choreography in three distinct pieces.

April 7, 2016

Hidden within DUMBO, the beautiful stripped down Gesley Kirland Performing Arts Center presented five distinct collaborations of dancers and musicians as part of Periapsis Open Series.  Too often audiences only associate live music with classical ballet or modern dance. However, Periapsis provided audiences with a refreshing variety of musicians and contemporary performing artists.

BWW Review: The Mariinsky Ballet
March 1, 2016

Civil unrest, classic folk tales, imperial decadence, fairy tales, and the exotic romantic east: all tenants of late imperial Russian ballet that can at times feel irrelevant to contemporary audiences. However, the Mariinsky Ballet's tribute to the late and great Maya Plisetskaya on the evening of February 26th 2016 successfully captivated audiences at BAM, recreating the best of Russian classicism for audiences old and young.

BWW Review: Pilobolus Presents SHADOWLAND
December 1, 2015

Last weekend was a big one for dance lovers in New York, with audiences having the choice to see Complexions Contemporary Ballet and Twalya Tharp's 50th Year Anniversary.  Instead, I choose to venture to NYU's Skirball Center for the Performing Arts to see Pilobolus Dance Theatre's North American premiere of "Shadowland," a work that delivered theatrical storytelling, athletic movement, and a stunning staging. 

BWW Reviews: Cedar Lake Farewell Performance
June 11, 2015

I remember where I was when I found out that Cedar Lake was closing--and so do most members of the New York City dance scene.  Reactions varied from shock, confusion, anger to the "oh, well all those dancers will get jobs in other companies, so who cares." 

BWW Reviews: Mark Morris Dance Group: Return to BAM
April 30, 2015

Mark Morris Dance Group has grown so busy touring to places as far off as China or Timor that the company has not performed at BAM since 2012.   Morris's work was certainly welcomed with its minimalist, serene, and exceptionally music quality, epitomizing Balanchine's quote, "see the music, hear the dance."

BWW Reviews: Nederlands Dans Theatre II
February 9, 2015

As an emerging dancer entrance into Nederlands Dans Theatre II, the training company for one of the world's leading innovative contemporary is tantamount to an Ivy League acceptance. Having the chance to see the talented young artists perform works by resident choreographers Paul Lightfoot and Sol Leon, Johan Inger, and Sharon Eyal and Gai Behar, reminded me that captivating contemporary choreography stems from using classical technique in innovative forms to convey concepts relevant to a modern audience.

BWW Reviews: Beijing Dance Theatre
October 27, 2014

Performing in the midst of Fall for Dance week, Beijing Dance Theatre may not have gotten the attention the company deserved, as evidenced by the empty seats in the Harvey Theatre at Bam. Certainly those who chose to see Beijing Dance Theatre over some of the other programs offered that week were not disappointed. The evening's program, Wild Grass, inspired by the poems of Chinese writers, left me wondering whether it is a dancer's facility, theatricality or the choreography that most draws me into a production.

October 1, 2014

When I saw the press release for "River Run, " an adaptation of James Joyce's Finnegan's Wake, I immediately contacted a Joyce fanatic and asked him if he would attend the show with me. I must admit that this type of play is a bit out of my comfort zone. Even if I left confused about what I had just witnessed, I found myself mystified with Olwen Fouere 's one women performance.

BWW Reviews: Cedar Lake Contemporary Ballet, 2014 Spring Season
June 20, 2014

I watch YouTube videos of the Cedar Lake Contemporary Ballet before bed, so when I had the opportunity to see the company in the flesh at BAM, I jumped at the opportunity. Needless to say, I had high expectations from the versatile contemporary powerhouse that were mostly upheld.

BWW Reviews: Roschman Dance and DoubleTake Dance Present: ARRIVAL
June 19, 2014

I haven't been out on a Friday night in the East Village in three years. However, I found myself pleasantly surprised to be in a speakeasy turned theatre on St. Marks enjoying new dance works by Roschman Dance and DoubleTake Dance.

BWW Reviews: iLUMINATE the Artist Within
May 21, 2014

On a warm, sunny Sunday I wasn't exactly thrilled to sit inside an air-conditioned theatre. The dread mounted as elementary school aged children poured into the theatre. However, once the lights dimmed and a dancer, dressed in a black suit with lights on it, bounded through the hall to warn the audience to turn their phones off, I melted and became one of the children myself.

BWW Reviews: EMERGENCE Presented by Eryc Taylor
April 28, 2014

Emergence, presented by Eryc Taylor Dance, showcased four twenty minute works by different New York City based choreographers. The works ranged in style from contemporary modern to contemporary jazz with a concluding surprise preview piece fusing graphic design and movement. The pieces delighted, bored, and even shocked the audience, leaving a mixed result.

April 29, 2014

After a sunny spring afternoon with beer, wine and nachos three girlfriends and I had the delight of previewing the musical Dragula. The initial read through of the musical was fantastically hilarious, entertaining, and still made a statement about who may be truly different in a heterosexual, Christian dominated world.

BWW Reviews: Garth Fagan Shows Precision But Lacks Vigor at the Joyce Theatre
November 20, 2013

The Joyce Theatre in Chelsea is legendary for spectacular modern dance. Garth Fagan has a reputation for spectacular choreography, winning the Tony award for the Lion King. While Fagan has an interesting intellectual concept of fusing modern dance, ballet and African traditions to create unique movement, tonight's show failed to deliver exciting movement. The musicality and precision of the dancers were outstanding, but the choreography was in slow motion and lulled me to sleep rather than imbuing me with excitement.

BWW Reviews: Lar Lubovitch: 45th Anniversary Season at the Joyce
October 16, 2013

Lately, all my conversations about dance return to one question: who is making new, exciting, and unique contemporary dances. It's true, we've all been jaded by So You Think You Can Dance, as well as the abundance of contemporary modern companies with beautiful, but nonetheless, gooey movement. Lar Lubovitch's program last Friday night at the Joyce was everything you would expect from contemporary dance-a little bit of floor work, a little bit of partnering, a modern torso with ballet legs and a cast of technical, and athletic dancers. However, Lar Lubovitch did deliver entertaining concepts and wonderful music for the audience.

From The Archives: Choreography by Bournonville
October 7, 2013

I often find myself infuriated with my favorite ballet teacher, trained from the Royal Danish Ballet School since age 8, and his obsession with little jumps. I never quite comprehended why we needed to spend twenty minutes doing maddeningly technical and precise jumps, while other teachers would spend maybe seven minutes, until I watched the 1961 BBC productions of Bournonville version of La Sylphide and the 1974 BBC production of Flower Festival in Genzano.

BWW Reviews: Peridance Capezio Center's Faculty Showcase
August 24, 2013

A diverse evening of dance, with pieces ranging from contemporary to classic jazz to hip hop, presented by Peridance Center's faculty, entertained an eager audience on Saturday evening, informing them of New York's vibrant and diverse dance scene.

BWW Reviews: From the Television Archives- John Cranko's THE LADY AND THE FOOL and PINEAPPLE POLL
August 7, 2013

On a rainy August day I curled up on the couch with BBC's recently released and re-mastered television broadcast of John Cranko's The Lady and the Fool and Pineapple Poll. Accustomed to contemporary ballet sensibilities, I was a bit skeptical of the black and white recording of these two 1959 performances, yet, as the comic ballets unfolded on my television screen, I slowly fell in love with the character dance and theatricality that are highly reminiscent of an old fashioned musical comedy.