Tag Archives: Joyce Theater


THE DAY—a performative investigation of the diurnal rhythms of life and what comes after—is a superlative collaboration between avant-garde cellist Maya Beiser (who conceived the work), dancer Wendy Whelan, composer David Lang, and legendary choreographer Lucinda Childs.

When [Childs started] choreographing dances, in 1968, it was with the predilection for keeping the movement vocabulary relatively simple, seeking complexity elsewhere—in the intricate design of spatial forms and in timing. But in the music-based works choreographed since 1979, which propose a much more complex movement vocabulary, Childs has broken radically with the anti-ballet aesthetic of the other ex- or neo-Duchampian choreographers with whom she has been grouped.

Of all the adepts of the rigorously modern among contemporary choreographers, she has the subtlest and most fastidious relation to classical dance… Childs does not feed balletic movements and positions into an eclectic mix but wholly transforms and reinterprets them. In this, as in other matters, she is adamantly anti-collage.Susan Sontag*

THE DAY was commissioned by Théâtre de la Ville in Paris, Carolina Performing Arts at the University of North Carolina, Jacob’s Pillow, the Joyce Theater, and CAP UCLA, and will be performed by Beiser and Whelan twice this weekend at Royce Hall.


Friday and Saturday, October 18 and 19, at 8 pm.

Royce Hall, UCLA

10745 Dickson Court, Los Angeles.

*Susan Sontag, “A Lexicon for Available Light,” Art in America, December 1983. Collected in Where the Stress Falls (New York: Farrar, Straus & Giroux, 2001). Reprinted in Susan Sontag: Later Essays (New York: Library of America, 2017), 364–379.

The Day, Maya Beiser, Wendy Whelan, David Lang, Lucinda Childs: Beiser and Whelan in performance, photographs by Nils Schlebusch. Images courtesy and © the artists, the photographer, and CAP UCLA.


The world premiere engagement of THE SUN STILL BURNS HERE—a collaboration between choreographer Kate Wallich and her troupe The YC, performer Mike Hadreas / Perfume Genius, musician Alan Wyffels, and art director Andrew J.S.— starts this weekend in Seattle, followed by a New York presentation at the Joyce, and dates in Minneapolis and Boston.


Friday and Saturday, October 4 and 5, at 8 pm.

Moore Theatre

1932 2nd Avenue, Seattle.

Wednesday, November 13, at 7:30.

Thursday through Saturday, November 14, 15, and 16, at 8 pm.

Sunday, November 17, at 2 pm.

Joyce Theater

175 Eighth Avenue (at 19th Street), New York City.

From top: Kate Wallich and Mike Hadreas / Perfume Genius, photograph by Agustin Hernandez; The Sun Still Burns Here MASS MoCA work-in-progress rehearsal and performance, June 2019, photographs by Andrew J.S. (2); posters for the Moore and the Joyce engagements, photographs by Agustin Hernandez (2); Hadreas MASS MoCA photograph by Andrew J.S., The Sun Still Burns Here photograph by Agustin Hernandez. Images courtesy and © the artists, performers, designers, and photographers.


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This month at the Joyce, Batsheva—The Young Ensemble will perform NAHARIN’S VIRUS, choreographed by Ohad Naharin and inspired by Peter Handke’s play, Offending the Audience.


NAHARIN’S VIRUS, through July 22.

JOYCE THEATER, 175 Eighth Avenue (at 19th Street), New York City.


Above: Ohad Naharin (right) rehearsing his dancers.

Below: Batsheva—The Young Ensemble, performing Naharin’s Virus.

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The Stephen Petronio Company is at the Joyce this week with the premiere of HARDNESS 10 (Petronio’s collaboration with Nico Muhly), SIGNALS (Merce Cunningham), and an excerpt from Petronio’s 2003 work UNDERLAND.


STEPHEN PETRONIO COMPANY, through Sunday, March 25.

JOYCE THEATER, 175 Eighth Avenue, at 19th Street, New York City.


Stephen Petronio Company. Photograph by Julie Lemberger.



There’s a glam-rock sock hop at the Joyce this weekend, courtesy of choreographer/entrepreneur Pascal Rioult and his driving company Rioult Dance, performing the world premiere of Rioult’s FIRE IN THE SKY. Jere Hunt plays an Iggy-Ziggy rock god, mesmerizing his band of followers with animal grace in painted-on, silver-and-black, zebra-striped jeans—designed by Patricia Field and David Dalrymple, who took a bow during the enthusiastic curtain calls on opening night.

The choreography, the costumes, and the attitude are pure androgynous Seventies, but rather than go over the top with a Velvet Goldmine score, Rioult wisely chose to set this new piece to the prole boogie of Deep Purple. “Smoke on the Water,” “Child in Time,” “Lazy,” and “Highway Star” set the scene for an extended workout by this uniformly excellent troupe. Sabatino A. Verlezza—all energy, charisma, athleticism, and command of precise form—is a particular standout.

A revisited TE DEUM, a Rioult piece from 1995, opens the evening.

RIOULT DANCE—TE DEUM and FIRE IN THE SKY, nightly through June 4.

JOYCE THEATER, 175 Eighth Avenue, at 19th Street, New York City.



Image credits: (Top)  Rioult DanceFire in the Sky (2017), choreographed by Pascal Rioult.

(Second and third from top)  Rioult DanceFire in the Sky (2017), choreographed by Pascal Rioult, rehearsal.

(Fourth from top) Rioult DanceFire in the Sky (with Jere Hunt, center).

(Bottom) Rioult DanceFire in the Sky (with Sabatino A Verlezza, far left). All photographs by Sofia Negron.

 Fire in the Sky by Sofia Negron

RIOULT Dance NY Announces 2017 Season At Joyce Theater, 5/31-6/4

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Rioult Dance, Fire in the Sky (with Jere Hunt, center), choreographed by Pascal Rioult, 2017. Image credit: Rioult Dance

Rioult Dance, Fire in the Sky (with Sabatini A. Verlezza, far left), choreographed by Pascal Rioult, 2017. Image credit: Rioult Dance