On September 15, New York Live Arts opened its doors, elevators, and stairwells, and welcomed an audience into an unconventional space for an opening night performance: its third-floor studio. The front row (masked, of course) settled into cushions on the floor, as the seated rows filled behind them, ready to witness Colleen Thomass Light and Desire.
Eleanor Smith and Molly Lieber continue their long-standing choreographic partnership with Gloria, a feminist exploration of objectification and reclamation, presented at New York Live Arts.
Its opening night of William Forsythe: A Quiet Evening of Dance at the Shed, and the audience files into the spacious black box theater, nearly drowning out a gentle soundtrack of bird chirps with pre-show conversations. Per the program, we will be treated to work compiled from different time stamps along William Forsythes career: newly commissioned pieces (Epilogue and Seventeen/Twenty-One) stand alongside existing repertory (Dialogue (DUO2015) and Catalogue) re-worked over the past 20 years.
Stephen Petronio Companys program for the Joyce Theater documents the companys growth with five new or reimagined works and makes a case for the continuation of digital dance as we move optimistically into post-pandemic times.