Lora Strum - Page 3

'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.

ABT does the melodrama of 'Giselle' with an acute attention to detail, diversity and dramatic flair.

In its annual Kennedy Center residency, the company tackles gun violence, love, youth and more in a program that includes new works and the seminal classic a?oeRevelations.a??

Synetic Theater's The Snow Queen feels like a prolonged fever dream brought on by repeated viewings of Disney's Frozen, or its earlier work, Fantasia.

Broadway World caught up with Ayana Workman to talk process, life and death, and why you can't really take it with you in Obie Award-winner and MacArthur a?oeGeniusa?? Grant recipient Branden Jacobs-Jenkins' production of 'Everybody..'

The Mariinsky Ballet's a?oePaquitaa?? should begin at its end. It's culminating event, the infamous Grand Pas, arrives after roughly two hours and for anyone in the Kennedy Center Opera House who doesn't know it's coming, the temptation to leave at one of two interminable intermissions is hard to resist.