Lora Strum

There is no better time to be had than what The Alvin Ailey Dance Theatre offers audiences at its five-week residency at the New York City Center. The show, which consists of a rotating roster of new, returning and classic works, should be mandatory holiday viewing. It is White Christmas or The Rockettes, but for audiences who want less razzle dazzle and more joy, depth and authenticity. 

The one constant in life is change. Humankind is destined, and doomed, to cycle through periods of denial, discomfort, exploration, adaptation, and integration to return to a similar starting point after a period of transformation. Kyle Abraham’s latest work, Dear Lord, Make Me Beautiful, explores not just this infinite loop, but how we thrive within the confines of life’s ouroboros. 

For more than two decades, the annual choreographers showcase held at the New York City Center has featured artistry that is tremendous and, on occasion, stultifying at prices that are always unbeatable.

What did our critic think of 'MESSAGE IN A BOTTLE PROVES' THAT GREAT DANCE AND MUSIC IS REALLY ALL YOU NEED at New York City Center?

What did our critic think of FIFTY YEARS SINCE ITS FOUNDING, AILEY II FINDS ITS SPOTLIGHT at The Joyce Theatre?

What did our critic think of Illinoise at Park Avenue Armory? Illinoise is, at its core, a story about stories, both the ones we tell ourselves and the ones we’re brave enough to share with others. 

What did our critic think of ALVIN AILEY WANTS YOU TO FEEL SOMETHING AGAIN at New York City Center?

The beloved children’s classic gets a beautifully bleak update that compels audiences to confront our climate disaster and our predatory nature.

'The New York City Center's Festival, known for its diverse programming, offered audiences a selection of works that were artful, if not a little boring.'

As the esteemed choreographer prepares to premier works new and familiar at the Joyce Theatre this August, he reflects on why art is not a “cure all” for the world’s post-COVID ills.

In celebration of its founder Tina Ramirez, the ballet company’s latest installment at the New York City Center focuses on how dance can build community and celebrate the LatinX culture to make a difference.

Standing in a rehearsal room aboard the Intrepid Sea, Air and Space Museum, haloed by the sun setting behind an American flag flapping in the wind off the Hudson River, Román Baca gives his performers their mission: They must complete their choreography for a special Memorial Day weekend performance that’s just five days away. 

For Lynn Parkerson, the founder and artistic director of the Brooklyn Ballet -- one of the only ballet companies to feature an interdisciplinary performance style -- looking back on 20 years of breaking down barriers is what inspires her to keep moving forward.

Alvin Ailey’s roster of classic performances is long because it has never shied away from leveraging its foundational strengths to try something new. The company’s latest performance from Ailey II builds on this practice to breathe life into classic works, and ground new material in what the company does best. 

'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.