"In 2023, the biggest name in New York dance was that of a French jeweller, Van Cleef & Arpels. The company's Dance Reflections festival sprawled across the city's theatres for months, evidence of a level of sponsorship and sparkle rarely seen in the field. If there were reasons to be wary of the dance scene being dominated by the taste of one curator backed by one foreign luxury brand, there were more reasons to be grateful."
"Now the festival returns, even larger than before, with sixteen mostly European productions, from Feb. 19 through March 21. Among the first offerings is L.A. Dance Project, at Perelman Performing Arts Center, with a triptych of works by its founder, Benjamin Millepied, each vaguely inspired by a precious stone."
"More grandly, Millepied's company will camp out in the vastness of the Park Avenue Armory for most of March with his "Romeo & Juliet Suite," an update on the classic work featuring handheld cameras and rotating gender pairings for the star-crossed lovers. Before then, over at City Center, Lyon Opera Ballet brings " BIPED," Merce Cunningham's masterly 1999 encounter with computers and motion capture, along with "Mycelium," a slowly evolving communal vibration by the rising choreographer Christos Papadopoulos."
Van Cleef & Arpels returns to New York with an expanded Dance Reflections festival running Feb. 19 through March 21, presenting sixteen mostly European productions. The festival opens with L.A. Dance Project at the Perelman Performing Arts Center, offering a triptych by Benjamin Millepied inspired by precious stones. Millepied's company will perform a "Romeo & Juliet Suite" at the Park Avenue Armory, updated with handheld cameras and rotating gender pairings. Lyon Opera Ballet presents "BIPED," Merce Cunningham’s 1999 piece integrating computers and motion capture, alongside "Mycelium" by Christos Papadopoulos. Ballet National de Marseille performs "Age of Content" by (La)Horde, and BAM hosts a Trisha Brown Dance Company program pairing "Set and Reset" with "Travelogue," celebrating Robert Rauschenberg’s stage designs.
Read at The New Yorker
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