Juan Michael Porter II

Juan Michael Porter II

Juan Michael Porter II is the Dance Crtic in Residence for Broadway World. He writes and creates with a focus on engaging, entertaining, and educating the reader without being a prick about it. He has contributed dance and theatre criticism to Color Lines, TheBody.com, Dance Enthusiast, Time Out NY, Ballet Review, TDF Stages, HuffPost, and Movement Research.

He has worked with H.T. Chen & Dancers, NYCOpera, Michael Mao Dance, The Martha Graham Dance Company, BalaSole Dance Company, Alpha Omega Theatrical Dance Company, and collaborated as a soloist with Yvonne Ng, Autre Ne Veut, William Hooker, Yasuhiko Fukuoka, Bird Mask, Isaiah Sheffer, Rose Marie Guirard, and Yung Yung Tsuai.  

Behind the scenes, he is the former producer of Nadine Bommer Dance, production partner of Williamsburg Movement & Arts Center, director of dance at Webster Hall, Resident Artist at Sangre de Cristo Art Center, and regional coordinator of The New York City Road Runners. As the the founding artistic director of The Moving Beauty Series, he has advised, developed, consulted, and presented the work of numerous acclaimed artists.




MOST POPULAR ARTICLES
LAST 30 DAYS

BWW Review: Dance Fail at Fall For DanceBWW Review: Dance Fail at Fall For Dance
Posted: Oct. 3, 2019


BWW Review: Contrasting the Jejune and Divine at Battery Dance FestivalBWW Review: Contrasting the Jejune and Divine at Battery Dance Festival
Posted: Oct. 7, 2019


BWW Review: A Washout of Wan Music at Battery Dance FestivalBWW Review: A Washout of Wan Music at Battery Dance Festival
Posted: Sep. 30, 2019


BWW Review: Gently Woke, Lacking in Bite with THOUGHTS & PRAYERSBWW Review: Gently Woke, Lacking in Bite with THOUGHTS & PRAYERS
Posted: Oct. 10, 2019


LAST 365 DAYS

BWW Review: Dance Fail at Fall For DanceBWW Review: Dance Fail at Fall For Dance
Posted: Oct. 3, 2019


BWW Review: Contrasting the Jejune and Divine at Battery Dance FestivalBWW Review: Contrasting the Jejune and Divine at Battery Dance Festival
Posted: Oct. 7, 2019


BWW Review: A Washout of Wan Music at Battery Dance FestivalBWW Review: A Washout of Wan Music at Battery Dance Festival
Posted: Sep. 30, 2019


BWW Review: Gently Woke, Lacking in Bite with THOUGHTS & PRAYERSBWW Review: Gently Woke, Lacking in Bite with THOUGHTS & PRAYERS
Posted: Oct. 10, 2019


BWW Review: Gently Woke, Lacking in Bite with THOUGHTS & PRAYERS
October 10, 2019

What is interesting about watching this pas is that Factor does not need Giles to execute any of her choreography. That she always accepts his unnecessary assistance serves as commentary on their relationship: she validates him as a source of physical comfort even though all she requires of him is the moral assurance that they are not bad people. 

BWW Review: Contrasting the Jejune and Divine at Battery Dance Festival
October 7, 2019

Battery Dance Festival's Tuesday and Wednesday night performances proved that choreography is only as wonderful as its music is rich. Led by Buglisi Dance Theatre, Ballet Nepantla, Vanaver Caravan, Ballet Boy Productions, and Battery Dance Company, this fact was never far from the concertgoers' minds as they swooned blissfully to fantastic dancing coupled with brilliant music.

BWW Review: Dance Fail at Fall For Dance
October 3, 2019

The continued proliferation of rhythmless music plunges Fall For Dance 2019's Program 1 into a miasma of middling potpourri. From Kyle Abraham rendering Misty Copeland into a sterile robot to Crystal Pite's droning narration, this was an evening sorely in need of inventive rhythm and grooves. Thank goodness then for the visiting South Africans of Vuyani Dance Theatre.

BWW Review: A Washout of Wan Music at Battery Dance Festival
September 30, 2019

Experimentation and zany movement were washed out by the paucity of interesting music during the second night of Battery Dance Festival.

BWW Review: Paterson Joseph is Sensational in SANCHO
May 4, 2018

As a character piece, Sancho: An Act of Remembrance is an absolute triumph. The emotional work that Paterson and his co-director Simon Godwin have invested into this piece is exquisite.

BWW Review: Phoebe Legere is a Dynamo in SPEED QUEEN
March 26, 2018

Phoebe Legere's dynamic performance is to put through its paces in this haphazardly arranged show.

BWW Review: BUTOH BEETHOVEN: ECLIPSE Pierces The Nether Realm
December 11, 2017

Vangeline seemed to convulse as if she were peering through a scrying pool at something of mind-blasting awesomeness.

BWW Review: Flawed Though Rousing; THE INTIMACY EFFECT
December 4, 2017

That's the beauty of this play - well before the misdeeds of Weinstein, Lauer, Spacey, and Rose detonated in our laps, it was showing the poison of sexual violence in quiet spaces.

BWW Review: Excellence in Tame Circumstances on THE BENCH
November 15, 2017

This remarkable feat is the sort of thing that old school actors and worshipers of the craft fetishize over for hours. Galinsky's accomplishment as an actor and writer are such that one regrets that the production is less than exciting.

BWW Review: Losing the Thread with MUST
November 15, 2017

Somewhere within this exhausting exercise of cliches there is a joke about mustiness overtaking MUST.

BWW Review: THE SIEGE Shocks the Shell of Power
November 3, 2017

Though these freedom fighters stand diametrically opposed to what I believe in, I recognized that they could have been members of my own family.

BWW Review: A PIECE OF MY HEART Encapsulates War's Horror
November 3, 2017

When Eliza McKelway picks up her guitar to sing one last song at the opening of the Vietnam War Memorial, a well spring of hope is unleashed.

BWW Review: NIGHT WITCHES Fails to Take Wing
November 3, 2017

NIGHT WITCH's tour de force physical production made use of evocative physical theatre effects, minimal production elements, and wonderful staging by Kathleen Anne Hefferon but failed to overcome its soggy script.

BWW Review: THE MECCA TALES is a Heartbreaking Work of Healing Genius
November 3, 2017

At curtain call I joined the entire audience in standing to applaud these excellent performers. I could have stood clapping all night.

BWW Review: THE VERY HUNGRY CATERPILLAR SHOW is a Delight!
November 1, 2017

Whether you have a child or are a child at heart, THE VERY HUNGRY CATERPILLAR SHOW is a fabulous work of art that should be experienced by all.

BWW Review: The Flames of FERGUSON Fizzle
November 1, 2017

Following a by-the-numbers formula, FERGUSON rolls out like the sketch of a LAW & ORDER episode during which the results are foretold without bothering to connect the dots.

BWW Review: Beneath the Melodrama, PETIE Pulsates with Warmth
October 3, 2017

Set in modern-day Red Bank, Tennessee, PETIE is essentially a Greek tragedy and like the heroes of those classics, Bonnie is a sad portrait of proud thoughtlessness that corrodes over self-inflicted loathing.

BWW Review: Though Formulaic, NEIGHBORS is GRAND
September 28, 2017

My jaw sat agape as tears of laughter rolled down my face for the full 5 minutes of UncleDave's Fight-House's gut busting fight choreography. Complete with Raul Abrego's gorgeous interactive set - the cloud by itself deserves awards - NEIGHBORS stands as the most fully realized production I have seen on or off-off-Broadway this year.

BWW Review: BLOOD BOUNDARY's Radiant Second Act Overcomes Awkward Opening
September 27, 2017

Somewhere in the second act of BLOOD BOUNDARY there is an interesting play to be found with alert performances and a powerful storyline that seamlessly resolves. Of course one has to sit through the long slog of act one's 'exposition mountain' to get to there.

BWW Interview: Darshan Singh Bhuller, Inspired to Dance
September 25, 2017

Though effectively retired from performing since 1996, Darshan Singh Bhuller recently started taking classes at Gibney Dance and rehearsing Mark Morris Dance Center in NYC. The reason? He is dancing at the upcoming gala celebration honouring Nadine Senior, the founding principal of the Northern School of Contemporary Dance who passed in January 2016.



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