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Steampunk haunted house Steampunk Haunted House

The Elegant Terror of Steampunk

Plenty of haunted houses have blood and guts and monsters, but only one lets nightmares mingle with dance.

Presented by the dance troupe Third Rail Projects, Steampunk Haunted House first appeared in 2009, and this year, it plunges audiences into a dark world inspired by Lewis Carroll and his Alice stories.

Presented by the dance troupe Third Rail Projects, Steampunk Haunted House first appeared in 2009, and this year, it plunges audiences into a dark world inspired by Lewis Carroll and his Alice stories.

Lil Buck, "The Swan" Lil Buck, "The Swan" / Choreographer: Lil Buck / Photo © Erinn Baiano

REVIEW: Fall For Dance Festival at New York City Center: Program 1

It is easy to get cynical about your art when you are in contact with it each day. But tonight at New York City Center’s Fall For Dance Festival, I fell back in love with dance. But it was not just the obvious mushy feelings toward the art coming from the overtly enthusiastic FFD crowd; these were four solid voices, four entertaining works.

Thumbnail Drew Jacoby for Fall for Dance

An Inside Look at Fall for Dance 2011 at NY City Center

This year, tickets to the 8th annual Fall For Dance Festival at the newly renovated New York City Center sold out in four hours. Audiences are ready to see dance. Whether they are avid arts-goers or first-timers to the theater, this week houses will fill as lucky ticket holders are presented with five diverse programs of companies from around the globe. To prepare for the Fall for Dance Festival (and our extensive coverage of it here at DancePulp) I interviewed Executive Director and CEO of City Center, Arlene Shuler and Stanford Makishi, Artistic Advisor for Fall For Dance this year.

REVIEW: DanceNOW [NYC] Festival at Joe’s Pub

Joe’s Pub is my new venue crush. Instead of local bands as the accompaniment to dinner and drinks, why not see ten shorter selections from New York choreographers? I am all for it. This informal, small stage allows the choreographers a unique and momentary chance to carve their work to suit the space. Not just any piece is right for dining viewers, and the corner stage only allows for a few bodies. Tonight, the first night of four in the DanceNOW [NYC] Festival, offered a variety of diverse voices, but serendipitously some repeating trends arose. The format is satisfying because in a field where often pieces drone on, these short 5 minute appearances are glimpses that leave you wanting more. Out of ten selections, several stood out above the crowd.

REVIEW: Houston Ballet at the Joyce Theater

Houston Ballet took their debut spin around the Joyce stage last night with Falling Angels, ONE/end/ONE and Hush. Jiří Kylián’s Falling Angels, one of the choreographer’s fan favorites, is often selected by ballet companies to showcase contemporary capabilities. I have seen the piece before, performed by the National Ballet of Georgia, but this time Houston Ballet helps me notice a few new inner-workings. First, a heavy load of unison makes it difficult to choose whether to view the movement as a corps of moving bodies or to single out one individual to more closely study the quick, precise gestures. In this opening section, the movement is clean and minimalist, focused on arm angles correlated with Steve Reich’s drumbeats. For me…

Joyce Fall Season Opens Tomorrow with Flamenco

From September 20-25th The Joyce Theater opens its fall season with Israel Galván’s vibrant “Le Edad de Oro” or The Golden Age, a full length solo flamenco performance accompanied by live musicians. In a Joyce lineup that often features full dance companies, Mr. Galván’s work is uniquely captivating, as is his philosophy on dance.

REVIEW: Cedar Lake Contemporary Ballet Intensive Students Perform 360º Installation

Last night, students of the Cedar Lake Contemporary Ballet summer 2011 Intensive Program performed in an interactive installation piece at Cedar Lake’s homebase in NYC. In the current performance trend of audience free-flow, the installation directed viewers to and from five different stage spaces, making the experience somewhat of a choose-your-own-adventure, as dancing occured simultaneously in opposite directions. The cutting-edge tone of the evening, incorporating multi-media video projection, aerial work, sculpture, and live musical score shows that CLCB is committed to showing their students the real deal of the current dance world. It re-imagines the audience relationship, and frames the dancing in a world of other visual design elements.

Lincoln Center Festival Ticket Giveaway!

In an exciting return to the US, Mariinsky Ballet, under the direction of Valery Gergiev will be performing Ratmansky’s Little Humpbacked Horse as part of their engagement with Lincoln Center Festival.Dance Pulp is giving away two free tickets! We want to give them to you! Read on to find out how you can win!

Dance Moves People graphic Joshua Martens

Why Does Dance Matter?

Editors Note: This is a collaborative post between Drew Jacoby and Emeri Fetzer and we hope to engage our readers in discussion. An important aspect of the mission of DancePulp is to encourage our followers to think about the importance of dance and to actively support arts advocacy. Early this…

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REVIEW: Week Two Gotham Dance Festival

Tuesday night, Kate Weare Company took the Joyce stage in the continuation of Gotham Dance Festival. Weare showed two works: “Lean-to” a popular piece from 2009, and a world premiere of the mystical and lush “Garden,” Weare’s newest creation. After this, my first encounter with the company, I am smitten.

“Lean-to” is as on edge as it gets. The curtain rises to reveal a starkly white, sail-like structure by Kurt Perschke as a power trio (dancers Adrian Clark, Douglas Gillespie and the unforgettable Leslie Kraus) surely and slowly initiate an interaction which cannot be distinguished as battle or alliance.