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    The Ballet Kids of ‘Midsummer’ Bring Magic to the Bugs

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    There is Oberon, the King of the Fairies, and his beautiful Queen, Titania. Puck, a sprite, works his magic with the occasional unforced error, as mortals and immortals find themselves in a similar predicament: wanting to love. And wanting to be loved. But for all the sparkle of the mythological adults in George Balanchine’s “A Midsummer Night’s Dream,” it’s the kids — 24, plus Titania’s page — that rule this fantastical realm.Enter the Bugs.These young dancers from the School of American Ballet are the heart of New York City Ballet’s production. Technically, they play Fairies and Butterflies, but at City Ballet and its training ground, S.A.B., they are known informally as Bugs. (Perhaps less dignified as far as outdoor creatures go, but cuter.)Madison ArdietThese Bugs are small, exuberant bodies that, at times, scurry across the forest stage, gleaming in the moonlit night. They’re a coalition, a small but mighty squad of fleet-footed girls, ages roughly 10 to 12 — “a wholly unsentimental deployment,” wrote Lincoln Kirstein, who founded the school and company with Balanchine.Balanchine based his ballet more on Felix Mendelssohn’s overture and incidental music for “A Midsummer Night’s Dream,” to which he added additional pieces, than on the Shakespeare comedy. Mendelssohn’s sweeping music also thrills the Bugs no end.It puts the gas in their engines, the quiver in their antennas, the flap in their delicate wings.“You’re not walking down the street anymore,” said Naomi Uetani, 11, with a smile she couldn’t suppress. “I’m in a magical place. I understand ‘Nutcracker’ — yeah, you’re in the candy land, but this is different. The feeling.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      BAM Announces a Female-Led Next Wave and Fall Season

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      The arts institution, which has shrunk its programming in recent years, unveiled its fall lineup.The Brooklyn Academy of Music will welcome its 42nd Next Wave festival this fall, with most works created by female artists, the performing arts center announced on Thursday.“We led with women,” said Amy Cassello, who became BAM’s artistic director last year after serving in the role as interim. “It just felt like a good time to center women creatives.”The announcement comes at a time of financial fragility and leadership flux for the academy. BAM’s staff has declined by more than a third in recent years, and its nearly $52 million operating budget is smaller than it was 10 years ago.But there is momentum, and audiences are growing.Next Wave will have 11 events, as it did last year, up from eight in 2023. That year, the festival scaled back to nearly half of the 2022 offerings amid staff layoffs.“I feel confident that we have the number of shows that make a coherent statement,” Cassello said, adding, “I wish there were more money to subsidize and support and invest in artistic work.”The festival opens with the choreographer Nora Chipaumire’s “Dambudzo” (Oct. 8-9), a blend of painting, sculpture, sound and performance, transforming the nearby performing arts space Roulette into a Zimbabwean house bar.The lineup also includes the French director Caroline Guiela Nguyen’s “LACRIMA” (Oct. 22, 24-26), a choral theater performance that, in a dark look at the fashion industry, traces the many hands across the world it takes to create a wedding dress for a British princess; Eiko Otake and Wen Hui’s “What Is War” (Oct. 21-25), a fusion of movement and video testimony about war and its aftermath on collective memory and the body; and the choreographer Leslie Cuyjet’s “For All Your Life” (Dec. 3-7), a solo performance interrogating the life insurance industry’s ties to slavery.Next season will also feature a revival of Richard Move’s dance-theater work “Martha@BAM — The 1963 Interview” (Oct. 28 -Nov. 1), in which Move recreates a 1963 interview between Martha Graham (Move) and the critic Walter Terry (the playwright Lisa Kron) at the 92nd Street Y.BAM will also present a screening of “The Mahabharata” (Sept. 18), a film adaptation of Peter Brook’s nine-hour theatrical presentation of the Sanskrit epic that BAM staged in 1987 atthe theater now known as the Harvey Theater at BAM Strong. The Harvey will be the site of the screening of Brook’s (much shorter) 1989 film, newly restored by his son, Simon Brook.The season concludes with a revival of the raucous post-rock opera “What to Wear” (Jan. 15-17) by the avant-garde theater maker Richard Foreman, who died in January at 87. The hallucinatory work, with a score by Michael Gordon, will be conducted by Alan Pierson and directed by Paul Lazar and Annie-B Parson, and run as part of Prototype, the experimental New York opera festival.“BAM has always been artist-centered and adventurous and risk-taking,” Cassello said, “and I think that’s absolutely necessary. Always has been.” More

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      Seven Takes on the Lurid Dance of the Seven Veils in Strauss’s ‘Salome’

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      “I’m ready,” Salome sings. And then she dances.Her predatory stepfather has promised her anything she wants if she performs for him. She obliges with the alternately wild and delicate Dance of the Seven Veils, one of the most famous numbers in all opera.A highlight of Strauss’s “Salome,” which the Metropolitan Opera will broadcast live to movie theaters on Saturday, it is also one of the art form’s greatest challenges. Few sopranos capable of singing the daunting role have much experience with dance, let alone with carrying a sensual nine-minute solo.Is it a seduction? A striptease? A cry for help? Performers have taken this intense, lurid scene in many different directions, bringing out undercurrents of sexual awakening and violence. The Met’s new production inverts the traditional portrayal, uncovering the wounded girl beneath the stereotypical femme fatale.Here are (yes) seven memorable versions from the long history of opera’s boldest dance.Silent SalomeAlla Nazimova.Nazimova ProductionsNot quite 20 years after the opera’s 1905 premiere, a silent film version of “Salome” — really an adaptation of the Oscar Wilde play on which the opera is based — embraced the material’s perfumed, verging-on-surreal Orientalism. The actress Alla Nazimova’s Salome is a spoiled, petulant teenager.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Axis Dance Explores New Frontiers With Mobility Technology

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      What are crutches for? To help an injured or disabled person get from Point A to Point B?Like most mobility devices, crutches are often designed and viewed in a matter-of-fact medical framework. There is a problem to be fixed; the device is the solution.Performances by Axis Dance Company routinely explode that idea. For Axis — an Oakland, Calif., ensemble of both disabled and non-disabled dancers — a crutch brims with creative possibilities: It might be a partnering support, a third leg, an elongated arm.But what happens when that expansive way of thinking is applied to the design of the device itself? What kinds of movement might be possible if, for example, a crutch could extend and retract?Joseph Tebandeke (aloft) and Anna Gichan of Axis rehearsing. That’s not a hypothetical. Telescoping crutches play a central role in Axis’ “Kinematic/Kinesthetic,” premiering Thursday at the Exploratorium museum in San Francisco. The work is a collaboration between the interdisciplinary artist Ben Levine; the choreographer and Axis artistic director Nadia Adame; and engineering students from Carnegie Mellon University and the University of Maryland. It features two imaginative mobility technologies developed for the project — the telescoping crutches, and a hexapod robot that gives its user six legs rather than two — as well as a hands-free Omeo wheelchair.Levine, who is disabled, hopes “Kinematic/Kinesthetic” will enlarge our understanding of the relationship between bodies and machines. Dancers are deeply attuned to their physical selves; people with disabilities often interact extensively with technology. Involving these knowledgeable bodies in the development of assistive devices can reshape ideas about the devices — and potentially generate new ways of moving.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Melissa Toogood Named New Director of Juilliard’s Dance Division

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      A member of Merce Cunningham’s final company, Toogood brings to the job years of experience as a dancer and educator.The Juilliard School has named Melissa Toogood as dean and director of its dance division, the school announced on Tuesday. Toogood, a Bessie Award-winning dancer who was a member of the Merce Cunningham Dance Company in its final years, succeeds Alicia Graf Mack, who is to become the artistic director of Alvin Ailey American Dance Theater. Toogood, who is Australian and lives in Sydney, will begin on July 1.“I’ve had many types of experiences and worked with many kinds of dancers and companies, Toogood, 43, said in a phone interview. “I’ve always been reaching for new knowledge.”Damian Woetzel, president of the Juilliard School, called her “one of the extraordinary artists of our time” and said: “I’ve watched her stage, I’ve watched her teach, I’ve watched her develop dancers at all levels, but really focusing on the younger dancers. And I have seen her develop her own leadership in that way that is inspiring.”Toogood, who started teaching at the Cunningham school at the choreographer’s request, continued to dance in New York after Cunningham’s company performed for the last time in 2011. “I had a really intense freelance career, which is challenging and uncertain, and I hope to prepare young people for all of those outcomes,” she said. “Because I can speak to it personally.”Toogood stages Cunningham dances and has performed with companies and choreographers including Kyle Abraham, Michelle Dorrance, Jamar Roberts and Pam Tanowitz, with whom she has had an 18-year collaboration.At Juilliard, she hopes to broaden her students’ understanding of the roles of art and artists. “I really think of art as an act of service, whether to an idea or a community or a work,” she said. “If a choreographer just makes you walk across the back of the room, they wouldn’t put that in a piece if it wasn’t important. I want them to leave as comprehensive thinkers and understanding that there are no small parts and that kind of connection to each other and the work and every role you play, whether it’s seemingly important to you at that time or not, is important.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Climate Activists Interrupt New York City Ballet Performance

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      Protesters interrupted an all-Balanchine program on the company’s spring season opening night, which coincided this year with Earth Day.A small group of climate change activists interrupted a New York City Ballet performance at the David H. Koch Theater in Lincoln Center on Tuesday, the opening night of the company’s spring season.The protest occurred shortly before 9 p.m., as dancers and orchestra musicians performed Balanchine’s “Tchaikovsky Pas de Deux,” the third ballet on an all-Balanchine program for the opening night, which coincided this year with Earth Day.A woman began yelling from the balcony. Then, she shouted, “We’re in a climate emergency,” and unfurled a banner from a balcony.“Our country has become a fascist regime, and we are enjoying this beauty,” said the protester, according to videos of the incident.The dancers and musicians continued to perform through the demonstration for about five minutes. Some members of the audience booed the protesters and demanded their removal.The curtain came down, an announcer said the show would be paused because of the disruption and security officers removed several protesters from the auditorium. About five minutes later, “Tchaikovsky Pas de Deux” restarted from the beginning and the performance did not face further interruptions, City Ballet said in a statement.Activists had also gathered outside the theater before the performance, holding signs reading “Koch killing the planet” and “No billionaire ballet on Earth Day,” according to photos posted online.The theater is named after David H. Koch, a billionaire who donated vast sums to support the arts but was for some a polarizing figure because of his campaign to counter the science of climate change.The climate advocacy group Extinction Rebellion, which has organized similar protests, said in a social media post Tuesday night that the demonstration was meant to highlight the Koch family’s support for conservative causes and efforts to block policies to fight climate change.The protest follows similar episodes at other high-profile performances. Last year, three climate change protesters disrupted a Broadway performance of “An Enemy of the People,” starring Jeremy Strong. And in 2023, climate activists interrupted a performance of Wagner’s “Tannhäuser” at the Metropolitan Opera. A protester shouted “The spring is tainted,” and dropped a banner that read “No Opera on a Dead Planet.” More

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      Celia Rowlson-Hall’s Sisyphean Beach Balls

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      “I hate large beach balls,” Celia Rowlson-Hall said at the Baryshnikov Arts Center last week.A director, choreographer and performer best known for her quirky and surreal work in film, Rowlson-Hall was rehearsing “Sissy,” an idiosyncratic hybrid of dance and theater. It draws on the Greek myth of Sisyphus, eternally condemned to push a boulder up a mountain only to have it roll back down. The boulder is represented by a giant beach ball, and in rehearsal the performers were having trouble lofting it into a net suspended above the stage. After failing a few times, they succeeded, only to have the ball bounce back out again.This Sisyphean moment was not planned, but it might easily have been part of the choreography. “Sissy,” which runs at the Baryshnikov Center Thursday through Saturday, is the kind of production that playfully blurs the line between real life and make believe. It’s about a director-choreographer (Zoë Winters), a new mother who is making a dance piece that uses the metaphor of Sisyphus to symbolize the difficulties of balancing motherhood with her artistic life. Rowlson-Hall came up with the idea while she was pregnant and working on a feature film.From left, Celia Rowlson-Hall, Ida Saki and Marisa Tomei at the Baryshnikov Arts Center. “Being with the dancers, I’m in heaven,” Tomei said, adding she has relished the opportunity to be physically expressive, “thinking in shapes and body sculpture.”Thea Traff for The New York Times“It was a camera movement in my head,” she said during a rehearsal break. “I saw the camera coming around and revealing this woman who had been hiding behind the rock the whole time. And I was like, ‘Oh, what’s her story?’”Much of the story that Rowlson-Hall wrote is drawn from her life, but it’s nested in layers of fiction and art making. In “Sissy,” which alternates between scenes of dialogue and dance, Winters’s character presents a work-in-progress set in a rock quarry. (Lucas Hegseth plays a quarry worker.) A dancer (Ida Saki) pushes the beach ball around, dances out childbirth, then pushes a slightly smaller beach ball (representing the moon) while holding her child — a child played by Saki’s own 1-year-old son.The showing seems to be going fine when it’s interrupted by a paleobotanist, who announces that she has made a “once in a millennium” discovery in the parking lot: the fossilized root system of the world’s oldest forest. It seems the boulder that is the director’s show is rolling down the mountain again, and she will have to adjust to the new circumstances — a process made more farcical because the paleobotanist is played by the gifted physical comedian and actress Marisa Tomei.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Transformer: Twyla Tharp Dives Into the Future

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      Tharp celebrates her 60th anniversary as a dance maker with a program pairing the monumental “Diabelli” (1998) and the new “Slacktide.”It could be the middle of the ocean on a starless night, but it’s a stage. An arm reaches up, glowing like a beacon of light. It lowers — slowly, deliberately — sliding into the darkness.A piece of movement is nothing without context. Twyla Tharp created that arm gesture nearly 40 years ago as the emphatic closing image of her celebrated “In the Upper Room” (1986), in which two women — the “stompers” — yank down a fist in victory. It’s as much a physical movement as a celebration of making it to the top of a choreographic Mount Everest.During a recent interview, Tharp, 83, hopped from a chair to her feet to illustrate its emphatic power. “Where that came from is the notion of pulling down a shade,” she said. “Blackout!”That dance unspools to a propulsive mix of ballet, modern dance and even calisthenics to music by Philip Glass. It ends with the sense of an exhalation, a release.But what if that final exhalation from “In the Upper Room” turned into an inhalation? What if an ending became a beginning? “Slacktide,” Tharp’s newest dance, is also set to Glass, his “Aguas da Amazonia,” in a new arrangement created and performed by Third Coast Percussion. It starts where “In the Upper Room” left off.“I take that last move and make it go incredibly slow into the future,” Tharp said. “Into another place, and that other place is a transformation.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: Getting to the Essence of Camille A. Brown’s Artistry

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      With the high-energy “I AM,” Brown takes her signature interweaving of African diasporic dance forms to new heights.These days, many people know Camille A. Brown from the worlds of theater and opera, where she has become a frequent collaborator on high-profile projects. (She choreographed two hit shows now on Broadway, “Gypsy” and “Hell’s Kitchen.”) But it’s her work with her company, Camille A. Brown & Dancers, that brings us closest to her essence as an artist, showing us who she is, what moves her.That has never been more clearly or piercingly expressed than in her latest dance, “I AM,” which had its New York City premiere at the Joyce Theater on Wednesday. Sweeping the audience into its flow for a joyous 65 minutes, “I AM” is like the exclamation point on the trilogy Brown created from 2012 to 2017 (“Mr. TOL E. RAncE,” “BLACK GIRL: Linguistic Play” and “ink”).A program note describes “I AM” as imagining “a creative space for cultural liberation — conjuring new ways of being in this world.” And liberated it is, pulsing with a sense of freedom and possibility that emanates from its outstanding team of 12 dancers and three musicians (Deah Love Harriott on piano, Juliette Jones on violin and Jaylen Petinaud on drums).Brown went to great lengths to contextualize the works in the trilogy, which delved into different facets of African-American identity, like the painful legacies of minstrelsy and the playful rituals of Black girlhood. The first two chapters came with educational resource guides, and Brown regularly led post-show dialogues as extensions of the work.In “I AM,” she continues her signature interweaving of African diasporic dance forms, but with what seems like a greater, bolder openness to letting dance — in deep conversation with music — speak for itself. After Wednesday’s performance, she shared just a brief word of explanation: “I wanted to do something centered around joy.”From left, Brianna Dawkins, Travon Williams and Courtney Ross in “I AM.”Rachel Papo for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More