Lora Strum

As the esteemed choreographer prepares to premier works new and familiar at the Joyce Theatre this August, he reflects on why art is not a “cure all” for the world’s post-COVID ills.

In celebration of its founder Tina Ramirez, the ballet company’s latest installment at the New York City Center focuses on how dance can build community and celebrate the LatinX culture to make a difference.

Standing in a rehearsal room aboard the Intrepid Sea, Air and Space Museum, haloed by the sun setting behind an American flag flapping in the wind off the Hudson River, Román Baca gives his performers their mission: They must complete their choreography for a special Memorial Day weekend performance that’s just five days away. 

For Lynn Parkerson, the founder and artistic director of the Brooklyn Ballet -- one of the only ballet companies to feature an interdisciplinary performance style -- looking back on 20 years of breaking down barriers is what inspires her to keep moving forward.

Alvin Ailey’s roster of classic performances is long because it has never shied away from leveraging its foundational strengths to try something new. The company’s latest performance from Ailey II builds on this practice to breathe life into classic works, and ground new material in what the company does best. 

'Opening night of any show is an invitation for more. The expectations are always high. Les Ballet Afrik’s “New York is Burning” not only met those expectations, but exceeded them.' @lorastrum reviews Les Ballet Afrik's 'New York is Burning' @TheJoyceTheater

In an era where everything feels like a repeat -- or a remake -- Twyla Tharp’s “In The Upper Room” and “Nine Sinatra Songs” is that rare thing that would feel fresh no matter how many times it’s performed.

The @NYCityCenter Fall for Dance Festival's diverse programming lets audiences 'choose their own adventure' through the arts, @lorastrum writes.

To designate something as a “classic,” like a diamond, is to guarantee its significance forever. The Pacific Northwest Ballet is by this definition, wholly classic, @lorastrum writes.

In GALLIM Dance Company's 'BLUSH,' so many moments feel like a mental breakdown. Perhaps that madness is what lies just outside the theater, or perhaps that’s what audiences will leave behind.

In a diverse, three-part program featuring choreography by Robert Garland, Claudia Schreirer and Annabelle Lopez Ochoa, audiences are gently guided through the hope and despair at war in every place.

Making its New York premiere at the City Center Dance Festival April 1-3, Doña Perón is an explosive and emotional retelling of the life of Eva “Evita” Perón, one of the most recognizable and controversial women in Argentinian history.

It’s clear that night three of the City Center Dance Festival will not be a carefree return to our yesteryears, but a step into what comes next in the arts.  There is no better steward for this unknown future than The Paul Taylor Dance Company. 

“We want people to put down that green beer and pick up real Irish culture and literature,” Rex Daugherty, Solas Nua’s Artistic Director of Theatre, says. “The arts are one of Ireland’s biggest exports, and its best work is happening now.”

A dramatic reading of letters Shaw exchanged with the actress Mrs. Patrick Campbell reveals the strong-willed woman who captured Shaw’s heart and inspired the playwright’s iconic Eliza Doolittle.

It's crass and callous, heart-breaking and hilarious as it examines the nomansland where choice and identity collide.

This reimagined 'The Phantom of the Opera' has its roots in the novel of the same name; a work immortalized in Andrew Lloyd Webber’s Broadway adaptation. Those roots, however, never grow into anything in Synetic’s take.

In 2021, evil lurks in crowded grocery stores, on unmasked faces or on Facebook. So, what would today's audience want with a tale about villany? 'All the Devils Are Here: How Shakespeare Invented the Villain' has the answer.

“I hate it here” is so 2020 that it is the perfect title for Studio Theatre’s second audio play; a work so zeitgeist-y it is exposure therapy for “these unprecedented times.”

When past government shutdowns forced Ford's Theatre to close its doors, its artists grew resilient in the uncertainty. Today, shut down by the coronavirus pandemic, that resilience may not be enough.