The program includes two classics of nineteen-forties Americana: “Appalachian Spring,” Graham’s modernist masterpiece with its sound-of-America Aaron Copland score, and a revival of “Rodeo,” Agnes de Mille’s more conventional Western-themed breakthrough, with its Copland score rearranged for a bluegrass band. These are answered with a première by Jamar Roberts, formerly with Alvin Ailey American Dance Theatre and now freelance. His “We the People” is a protest dance, alternating between struggles in silence and frontal assaults, with fists raised, propelled by the banjo and fiddle music of Rhiannon Giddens, who is known for reclaiming the legacy of Black string bands. It includes much of the America that the other works left out.—Brian Seibert (New York City Center; April 17-20.)
ABOUT TOWN
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Esta historia es de la edición April 22 - 29, 2024 (Double Issue) de The New Yorker.
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STUNTED
\"The Fall Guy.\"
MOTHERS OF US ALL
Paula Vogel's \"Mother Play,\" Shaina Taub's \"Suffs,\" and Amy Herzog's \"Mary Jane.\"
PURE PLEASURE
The \"Radical Optimism\" of Dua Lipa.
PARADISE LOST
The search for a home that never was in Claire Messud's new novel.
ORIGIN STORY
What do we hope to learn from our prehistory?
DEATH IN VENICE
At the Biennale, the past dignifies the weird, desperate present.
WE'RE NOT SO DIFFERENT, YOU AND I
\"You'll never get away with this!\" Ultra Man vowed as he wriggled in his chains. \"You may destroy me, but you'll never destroy what I stand for!\"
STONES OF CONTENTION
The British Museum faces accusations of cultural theft-and actual theft.
A CAMPUS IN CRISIS
Dissent and defiance at Columbia's pro-Palestine protests.
ARROW RETRIEVER
I am an arrow retriever. After a batrows are costly and time-consuming to make. It seems like a terrible waste-and maybe even a sin―for an arrow to fall to the ground without hitting someone. Even if the arrow kills somebody, it can be reused to kill someone else. As Randolf the Scot famously said, \"Arrows don't grow on trees.\"