Imagine an escalator carrying choreographers and their companies up through dance venues, from tiny lofts and 99-seat houses to the Kaye Playhouse, the Joyce Theater, Aaron Davis Hall, gigs at colleges around the country, the international touring circuit, and back to the distinguished reaches of BAM, City Center, and Lincoln Center. Artists go from renting theaters—an expensive strategy that's always a gamble—to being fully produced, which guarantees they'll at least break even, and on to being commissioned. The trip can take years—from, say, five for the supremely trendy to a dozen or more for riskier work. And not all choreographers benefit from making this journey. Some dances work best in intimate spaces, and are better served by running for several weeks in a small house than for one weekend in a barn where the most dedicated spectators—those in the cheap seats—are nearly a block... More >>>