Laura Molzahn

Major ballet companies are like battleships: big, heavy, built for rather antiquated displays of power, costly and difficult to keep afloat. But dance is a better use of resources than...

Fluidity marks the work of choreographer Kyle Abraham, fluidity of feeling, perception, movement. That protean force, applied to the outrageously long-lived issue of black people's civil rights, produces a major...

"They come in and they look like bomber jets, because they're in a straight formation and they kind of swoop around," says Lourdes Lopez, artistic director of Miami City Ballet,...

Several women sit motionless on stools, hands resting in their laps or on their knees, eyes closed — but flashing open at unpredictable times with a look of pleasure, astonishment,...

Nick Pupillo has come into his own with "SpringThree," the one-night third-season showcase for his young company, Visceral Dance Chicago, on Saturday at the Harris. Though he's been a risk...

Choreographers sometimes create concrete worlds for their otherworldly work using props and set pieces. Long one of the most imaginative and diligent of those artists, Jan Bartoszek of Hedwig Dances...

Delight defines Mark Morris' "Dido and Aeneas." Delight in sex, in music, in pathos, in mischief and even evil. Delight despite the ancient tragic story of love betrayed, and despite...

What happens when hip-hop meets butoh? In broad terms, it's a meeting that promises to be more of a car crash: Hip-hop is superfast, butoh superslow; hip-hop wows the crowd,...