Dance Archives

On Pointe


In the dance world, a comeback can mean many things, even “back from the dead.”

Artists may pass away, but their work lives on as long as other artists care for it. And former ballerina Sallie Wilson cares for Antony Tudor.

Tudor, the son of a British butcher, rose from working-class roots to become one of the 20th century’s most distinguished choreographers, known for carefully observed, psychologically astute studies of ordinary people, made for London’s Ballet Rambert and various ad hoc groups as well as for the fledgling Ballet Theatre (after he moved to New York in 1939) and other troupes here and abroad. He directed the Metropolitan Opera Ballet, taught at the Juilliard School, served as associate director of American Ballet Theatre, and spent his late years living in a Zen center on East 30th Street, until his death in 1987.

Although generally performed by ballet dancers, his works are thoroughly modern. He moved a Greek myth into a sordid Paris bar in The Judgment of Paris, a 1938 work to music by Kurt Weill; and dealt delicately with strangled passion and class conflict in the brilliant and sad 1936 Jardin aux Lilas to a score by Ernest Chausson. These and other Tudor works have been lovingly staged by Wilson, who was featured in his work at American Ballet Theatre during his lifetime. Relish them in an intimate setting, with original set and costume designs reconstructed by Gillian Bradshaw-Smith and Metropolitan Opera costumer Sylvia Taalsohn Nolan, when Diana Byer’s New York Theatre Ballet offers “Antony Tudor and Other Classic Gems.”

May 1 through 3, Florence Gould Hall, 55 East 59th Street, 212-355-6160


Through March 16

City Center, 133 West 55th Street, 212-581-1212

Two weeks of repertory, including the new Promethean Fire, to J.S. Bach and Dream Girls, to barbershop harmonies by the Buffalo Bills.


Through March 30, Tuesdays through Saturdays at 7 and Sundays at 2

Dance Theater Workshop, 219 West 19th Street, 212-924-0077

Dances by Sally Silvers, Dawn Akemi Saito, Vicky Shick, Neil Greenberg, and Mia Lawrence play in rotating repertory in the expansive new Bessie Schönberg Theater.


March 12-April 13

The Duke on 42nd Street, 229 West 42nd Street, 212-415-5552

For five straight weeks, Wednesdays through Sundays but skipping Friday nights, this series spotlights mid-career choreographers. First up is Heidi Latsky’s new, full-evening Bound, inspired by Bernard Schlink’s The Reader; then Mark Jarecke Dance in Endo, to music by Sonic Youth. Starting March 24, the Kevin Wynn Collection, capable of shooting out more moves per second than anybody else, offers Ruptured Angels on the Asphalt, responding to the work of playwright Adrienne Kennedy. In April, Risa Jaroslow & Dancers show Strings Attached, to a score by Diedre Murray, and Fidl, to Alicia Swigals’s klezmer string music; Bill Young and Dancers close out the Project with Rein, Bellow, made in collaboration with Colleen Thomas to a score by Philip Hamilton, on a program with Bent, to music by Mio Morales.


March 14

Schomburg Center, 515 Malcolm X Boulevard, 212-491-2206

Carmen deLavallade, Virginia Johnson, and Jawole Willa Jo Zollar share a program of “greatest hits” in various dance styles.


March 25-30

BAM Howard Gilman Opera House, 30 Lafayette Avenue, Brooklyn, 718-636-4100

Two programs feature three New York premieres: Kolam, to music by Zakir Hussain and Ethan Iverson; Resurrection, a “gangster flick,” to music by Richard Rodgers; and Something Lies Beyond the Scene, to William Walton’s “Façade.” And more.


April 2-20

Gramercy Arts Theatre, 138 East 27th Street, 212-889-2850,

Alone except for musicians, this tiny woman on a tiny stagein a vest-pocket theater brings to elegant life the traditions of Spanish dance and flamenco, with performances scheduled mornings, afternoons, and evenings.


April 4-20

City Center, 135 West 55th Street, 212-581-1212

Set among the Brooklyn Mafia and loosely based on the classic Billy Wilder film Some Like It Hot, Russian choreographer Boris Eifman’s newest work is set to music by Scott Joplin, Samuel Barber, and big bands directed by Artie Shaw, Benny Goodman, Dave Brubeck, and Duke Ellington. Also on view is Eifman’s Pinocchio.


April 10-May 9, Thursdays and Fridays at 8:30

Leonard Nimoy Thalia, Symphony Space, Broadway and 95th Street, 212-864-5400

In an intimate, cabaret-like setting, experience the dance theater of Nicholas Leichter and Clare Byrne (April 10 and 11), Patricia Hoffbauer (April 17 and 18), Chris Yon & Justin Jones (April 24 and 25), and Roxane Butterfly’s smokin’ improvisa-tional tap show, BeauteeZ’N the Beat (May 8 and 9).


April 23-26

City Center, 131 West 55th Street, 212-581-1212

Reid Anderson’s troupe concludes a U.S. tour with four performances including dances by Kevin O’Day, Douglas Lee, Uwe Scholz, Christian Spuck, Dominique Dumais, and Daniela Kurz.


April 29-May 3

BAM Howard Gilman Opera House, 30 Lafayette Avenue, Brooklyn, 718-636-4100

Jean-Christophe Maillot’s new Cinderella, to Prokofiev’s grand score, sheds its fairy-tale trappings and gains new edge.


May 1-18

Dance Theater Workshop, 219 West 19th Street, 212-924-0077

Sarah East Johnson’s endearing troupe of female acrobats presents Shine.


May 13-18

Joyce Theater, 175 Eighth Avenue, 212-242-0800

Philadelphia’s favorite son returns to town with the local premiere of Facing Mekka, a full-evening exploration of the roots of hip-hop with a cast of 17 dancers, two DJs, live percussion, and a recorded score by Darrin Ross.


May 22-June 8

Dance Theater Workshop, 219 West 19th Street, 212-924-0077

This compelling troupe looks over the edge again in Out There & Other Work.


May 23-25

BAM Howard Gilman Opera House, 30 Lafayette Avenue, Brooklyn, 718-636-4100

Stay in town Memorial Day weekend, and catch performances centered on Haiti, by troupes from New York, Chicago, Philadelphia, and beyond, as well as films, music, crafts, and food.