THE RULES FOR FALL FOR DANCE changed slightly this year—several more performances, spread out over three weeks, and a modest price hike—but the principle remains the same: a smorgasbord of wildly various disciplines and aesthetics, and equally various levels of interest and talent. You never know exactly what to expect, but you know there will be the good, the bad, and the well-intentioned boring.
Inevitably, there were four dance modes on view: classical ballet, “downtown,” ethnic/folk and novelties. It makes sense—the programs give audiences a chance to decide what they like, and give critics a chance to get a sense of companies and performers they might never be able to see otherwise—and to send up warning flares: If this bunch makes it back to town, STAY AWAY! Read More