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Fire Island Dance Festival | July 18-20, 2014 at Fire Island Pines, NY….

 FI FestProduced by and benefiting Dancers Responding to AIDS a program of Broadway Cares/equity Fights AIDS

July 18-20, 2014

Fire Island Pines, NY

Make your plans now to join us for the 20th anniversary of Fire Island’s most anticipated event of the season.

Fire Island Dance Festival has wowed audiences for 20 years with an eclectic mix of famed and fast-rising dancers from Broadway to Ballet performing on a stunning waterfront stage with the Great South Bay as a backdrop. This year’s festival will be hosted by Larry Keigwin and Jerry Mitchell


To date, Fire Island Dance Festival supporters have raised $3.3 million for the most vulnerable among us, helping to ensure that they receive lifesaving medications and health care, nutritious meals, counseling and emergency financial assistance.

Schedule of Events

Friday, July 18

Leadership Event at Whyte Hall featuring Mark Stuart Dance Theatre
Performance 7:30 pm (cocktails starting at 6 pm)

     Included with all Leadership Supporter tickets

Saturday, July 19
Opening Performance 5 pm (cocktails starting at 4 pm)
Sunset Performance 7 pm (cocktails following)

Sunday, July 20
Closing Performance 5 pm (cocktails following)

Get your tickets online today, call 212.840.0770, ext. 268 or stop by the DRA table in the Fire Island Pines Harbor on weekends 10 am – 1 pm.

Performance by….

Desmond Richardson

Dwight Rhoden’s Moonlight Solo

Ailey II

“Wade in the Water” From Alvin Ailey’s Revelations


Premiering a new work by New York City Ballet’s Troy Schumacher

Complexions Contemporary Ballet

Premiering a new work choreographed by American Ballet Theatre’s Marcelo Gomes with an original score by Ian Ng

American Ballet Theatre’s Marcelo Gomes & Luciana Paris

Balcony Pas De Deux from Romeo And Juliet

New York City Ballet’s Sara Mearns

Starring with 8 male dancers in a new work created by Emmy award-winning choreographer Josh Bergasse

Dancers Responding to AIDS, founded in 1991 by former Paul Taylor Dance Company members Denise Roberts Hurlin and Hernando Cortez, relies on the extraordinary compassion and efforts of the performing arts community to fund a safety net of social services for those in need. As a program of Broadway Cares/Equity Fights AIDS, DRA supports more than 450 AIDS and family service organizations nationwide as well as the essential programs of The Actors Fund, including the HIV/AIDS Initiative and The Dancers’ Resource. For more information, please visit Dancers Responding to AIDS at, on Facebook at, on Twitter at, on YouTube at and on Instagram at

Boston Ballet’s 50th Anniversary at Lincoln Center’s David H. Koch Theater…

Boston Ballet’s John Lam in Forsythe's The Second Detail. Photo: Gene Schiavone

Boston Ballet’s John Lam in Forsythe’s The Second Detail. Photo: Gene Schiavone

The Boston Ballet, led by its Artistic Director Mikko Nissinen pulled out all the stops for the 50th Anniversary Season at the David H. Koch in New York City’s Lincoln Center. Mr Nissinen presented a company rich with tradition, talent and vision. The company’s 50th Anniversary Season offered two exciting programs and as an added treat, live music was provided by the Boston Symphony Orchestra.  

Altan Dugurra gave an honest and intriguing performance as the faun in Vaslav Nijinsky’s Afternoon of a Faun. As the curtain rose you witnessed the beauty of Russian painter Leon Bakst’s original costumes and sets. That moment when the oboe is heard at the beginning of Claude Debussy’s Prélude à l’après-midi d’un faune, the Boston Symphony Orchestra captivated us all.

Vaslav Nijinsky's Afternoon of a Faun by Rosalie O'Connor (2)

Seeing Vaslav Nijinsky’s original choreography you recognize just how revolutionary was the work. With the body always in profile, feet turned in, Nijinsky’s staging was intentionally to the imagery found on ancient Greek vase paintings. All though the company also has Jerome Robbins’ version in its repertory I am glad that this was the one selected to be shown.

During Finnish choreographer Jorma Elo’s Plan to B you eyed followed Whitney Jensen whenever she was on stage. She dances with such crisp technique combined with an inner fire that watching her you knew you were in the presence of an artist at the height of her powers.

Boston Ballet's in Vaslav Nijinsky's Afternoon of a Faun. Photo: Rosalie O'Connor

Boston Ballet’s in Vaslav Nijinsky’s Afternoon of a Faun. Photo: Rosalie O’Connor

Mr. Elo has been Boston Ballet’s resident choreographer since 2005 and his choreography tends to be fast paced and highly athletic. Plan to B, set to the Baroque music of Heinrich von Biber is an extreme abstract work in regards to the use of the body in space. The choreography is ripe with classical movement interspersed with contemporary elements, limbs fold at sharp angles and unique movement phrases highlight the work. It is intensely musical, the body and the score seem to meld into a singular vision.

In William Forsythe’s The Second Detail stillness is a vital as motion, abstract, dramatic and challenging, it is work of great daring and intelligence. The saccadic rhythm of Thorn Willems score drives the dancers through every move, every step.

Jeffrey Cirio and Isaac Akiba ©LizaVollPhotography

Mr. Forsythe’s 1991 work begins with 13 dancers wearing light blue leotards and tights. Hips jut to the side followed by a running slide and then a leg kicked incredible high, on the floor downstage center is a sign with the word “THE.”

The movement vocabulary is without a doubt classical, tendu’s and port du bras are everywhere, but it is studded with repetitive off-kilter moves, the body tilting and/or the torso used in a sometimes awkward rubbery manner.

Whitney Jensen, Jeffrey Cirio and Bo Busby in Jorma Elo's Plan to B by Gene Schiavone

The dancers settle on benches that line the back of the stage, two will sit and stare straight head while four others move in unison slightly off to their left. Again stillness is as important as movement in the piece where a dancer or dancers will momentarily stop, breath, and then begins to move once more.

The work is composed of group pieces, duets, trios and sudden solos.  On one side of the stage three may be moving in unison while on the other side an intricate solo is being performed. This solo may stop, the dancer choosing to move to the back to sit down or it may evolve into a duet or trio with other dancers joining the first.

Kathleen Breen Combes in Forsythe's The Second Detail

Walking on, off and about the stage gives a pedestrian feel, a feel that makes it seem current and of the moment. A dancer may dazzle us with an intricate solo of leaps and turns only to suddenly stop and simple walk nonchalantly away.

The work ends when one dancer kicks over the sign labeled “THE”. The fact that you must be a skilled technician to even attempt Forsythe’s choreography is an understatement. The fact that the dancers of the Boston Ballet can tackle it and other choreographers whose work is just as complex and intricate is a statement to their talent and training.

Wall by EDx2 Contemporary Dance Company….

Choreographer Lee Insoo established EDx2 in 2010.  EDx2, located in Seoul, aims to discover outstanding original repertoire alive with artistic sensitivity and descripted movements: and to meet its aim, it is open to other artistic genres such as Hip-Hop, Contemporary dance, Drama, Mime and Acrobatics, etc. EDx2 enthusiastically communicates with the sensitivity of the contemporary audience and introduce a diverse spectrum of modern dance with both artistry and popular appeal.

EDx2 Contemporary Dance Company

Direction & Choreography: Lee Insoo

Camera Work/Editing: Smooz


Lee Insoo

Ryu Jinwook

Cheon Jongwon

Lee Dongha

The Blind Men & the Elephant | 10 Hairy Legs’ 2014 New York Season at New York Live Arts….

10 Hairy Legs’ Tony Bordonaro & William Tomsaskovic in Randy James' "Closing the Glass Door". Photo: Steven Trumon Gray

10 Hairy Legs’ Tony Bordonaro & William Tomsaskovic in Randy James’ “Closing the Glass Door”. Photo: Steven Trumon Gray

Randy James, Artistic Director for 10 Hairy Legs has a strong vision for the repertory company he founded in 2012, a company composed entirely of men. It is a vision of challenge, of exploration and more than a little taking of chances. The company is not meant to reflect a specific point of view about the male experience, but rather to celebrate and explore the tremendous technical and emotional range of the male dancer.

Mr. James is building an impressive repertory by some very exciting choreographers, Julie Bour, Claire Porter, Tiffany Mills, David Parker and Doug Elkins. Mr. James himself just received the 2014 New Jersey State Council on the Arts Choreographic Fellowship Award Recipient.

10 Hairy Legs’ Scott Schneider in Julie Bour's "The Blind Men and the Elephant".  Photo: Steven Trumon Gray

10 Hairy Legs’ Scott Schneider in Julie Bour’s “The Blind Men and the Elephant”. Scenic Design: Benjamin Heller. Photo: Steven Trumon Gray

Julie Bour’s The Blind Men & the Elephant with a newly composed score by Kyle Olson, opened the evening for 10 Hairy Legs’ 2014 New York Season at New York Live Arts. The Blind Men & the Elephant is a well-known Indian tale from the Buddhist canon, but some assert it is of Jain origin. It illustrates the principles of pluralism and multiplicity of viewpoints, the notion that truth and reality are perceived differently from diverse points of view, and that no single point of view is the complete truth.

Ms. Bour, who danced with Angelin Preljocal and Ballet Preljocal, created a vision for this parable that was fascinating to say the least. The stage is a place of darkness, from varying angles light creeps onto the stage like a thief afraid of being discovered.  Upstage left is Benjamin Heller’s scenic design/structure, part statue, part art object, dimly lit imagery that strongly, though not outright, suggests an elephant. A long ivory tusk, a leg, a large ear that would suggest a large head.

10 Hairy Legs’ in Alex Biegelson Julie Bour's "The Blind Men and the Elephant".  Scenic Design: Benjamin Heller.  Photo: Steven Trumon Gray

10 Hairy Legs’ Alex Biegelson in Julie Bour’s “The Blind Men and the Elephant”. Scenic Design: Benjamin Heller. Photo: Steven Trumon Gray

Alex Biegelson begins a solo but he is soon joined by Robert Mark Burke. Mr. Burke is smaller in stature and dressed in all black and against the black drapery in the background. He is more of an apparition than person, a shadow that follows, a thought, a fleeting memory. Mr. Burke is reflected guilt or perhaps a thought that services unwanted at random intervals.

The dancers’ kinetic energy is relaxed as it rides though the body, loosely limbs collapse at the height of a movement. Transitions are quick with synaptic response immediate. The choreography does not necessarily stop at any point in the work but there are moments of stillness, like a breath inhaled before the start to the next phrase of movement. The choreography is introverted, reflective, searching. Scott Schneider pauses and looks around, a perplexed expressions on his face as asking who or why.

10 Hairy Legs’ Tyner Dumortier in Julie Bour's "The Blind Men and the Elephant".  Photo: Steven Trumon Gray

10 Hairy Legs’ Tyner Dumortier in Julie Bour’s “The Blind Men and the Elephant”. Photo: Steven Trumon Gray

Three dancers began a trio of movement, a conversation of individual thought, a conversation in their own language of movement. A language only they speak, a language of motion and emotion. They move around and with each other, sharing the burdens of one another, when two lift the shadow, Mr. Burke, there is a moment of shared intimacy, something felt but not spoken.

I am new to the work of Julie Bour, but if The Blind Men & the Elephant is any indicator what to expect from her then I am very excited to witness more of her work. Excellent endeavor by all involved….

10 Hairy Legs’ Kyle Marshall in Claire Porter's "Piano". Photo: Steven Trumon Gray

10 Hairy Legs’ Kyle Marshall in Claire Porter’s “Piano”. Photo: Steven Trumon Gray

The scenario for Claire Porter’s Piano, a text-driven piece, is simple, a world-renown pianist (Kyle Marshall), is ready to dazzle the gathered audience with his talent, he comes on stage with great fanfare, a true artist filled with his own self-importance…. Only to discover there is a slight problem…you see, the piano has not been delivered, the piano bench has arrived but alas, no piano. So, what does a world-renowned pianist full of his own self-importance do to stall for time till the piano arrives…he regales us with his peculiar idiosyncrasies and hilarious pre-performance rituals.

With a lot of bowing, kissing of his most cherished possession, his fingertips, Mr. Marshall takes on a rollercoaster of hilarity. His deadpan delivery of his all-consuming mental preparations and the sharing of information on what he planned to perform and how exactly he was going to perform it…complete with flourishes had everyone in stitches…

10 Hairy Legs’ Tony Bordonaro & William Tomsaskovic in Randy James' "Closing the Glass Door". Photo: Steven Trumon Gray

10 Hairy Legs’ Tony Bordonaro & William Tomsaskovic in Randy James’ “Closing the Glass Door”. Photo: Steven Trumon Gray

Randy James’ Closing the Glass Door set to Haendel-Halvorsen Passcaglia for Violin/Cello and performed live by Sarah Biber on Cello and Jane Chung on Violin was a duet and performed by Scott Schneider and Nick Scissione.

Mr. Schneider and Mr. Scissione begin the piece by standing side by side, first one leans over and places his head tenderly on the other shoulders and then the other does the same to him. The dance builds in intensity; the dancers come together, then separate utilizing the stage fully. Curvature patterns of motion can be seen, the body never truly traveling in a straight line from point A to point B.

10 Hairy Legs’ Carlos Antonio Villanueva & Alex Biegelson in Doug Elkins’ “Trouble Will Find Me”. Photo: Steven Trumon Gray

10 Hairy Legs’ Carlos Antonio Villanueva & Alex Biegelson in Doug Elkins’ “Trouble Will Find Me”. Photo: Steven Trumon Gray

Mr. James approach to the use of the body in space is to maximize on the potential of the movement. An extended leg arcs away from the body forcing the spinal column to twist around the torso and thus the energy is fully utilized as the catalyst for the following phrase of movement.

Mr. Schneider and Mr. Scissione must be commended for their performance in Mr. James duet. It was with out a doubt my favorite performance of the night….Superb performance in a superb piece….Bravo indeed!

Doug Elkins’ Trouble Will Find Me and set to music by the acclaimed Pakistani musician Nusrat Fateh Ali Kahn is a work for five men. The choreography is a bit of hip-hop, part capoeira with a little salsa thrown in for good measure and then some deviations of Classical Indian Dance poured into the mix.

10 Hairy Legs’ Tyner Dumortier in Doug Elkins’ “Trouble Will Find Me”. Photo: Steven Trumon Gray

10 Hairy Legs’ Tyner Dumortier in Doug Elkins’ “Trouble Will Find Me”. Photo: Steven Trumon Gray

It’s a fun work and is what it is…dancing for dancing sake…no subliminal messages or deep examinations of one’s angst. The dancers show such joy dancing the work it is infectious. Runs, slides, backflips and tumbles abound is this very athletic work. The choreography has a natural feel, nothing is forced. Mr. Elkin’s B-boy background surfaces periodically that lends a freshness to the work.

Randy James, who is on the faculty at Mason Gross School of the Arts at Rutgers University is among the foremost choreographers, educators and arts advocates, is the driving force of 10 Hairy Legs and serves as its Artistic Director. In addition to their work with 10 Hairy Legs, The dancers with the company  are also dance with such featured artists with The Bang Group, Stephen Petronio, Doug Elkins, Tiffany Mills Company and Zvi Dance, among others.

The mission of 10 Hairy Legs is to advance the understanding of the male role in dance through the creation, acquisition and performance of exceptional work.






The Prickly Point of Existentialism | The Boston Ballet & Alexander Ekman’s “Cacti”…

Boston Ballet's Whitney Jensen & Jeffrey Cirio Alexander Ekman’s “Cacti” Photo:  ©Rosalie O'Connor

Boston Ballet’s Whitney Jensen & Jeffrey Cirio Alexander Ekman’s “Cacti” Photo: ©Rosalie O’Connor

When the curtain opens for the Alexander Ekman’s “Cacti”, part of Program 2 of the Boston Ballet’s 50th-Anniversary Season at the David H. Koch Theater in Lincoln Center…well, at first you may not be sure what to think…I know I didn’t! Two dancers, a man and a woman are moving very slowly with their backs to the audience. An audio collage (taped text by Spenser Theberge that seems to be deliberately pretentious) is playing, you hear a conversation that the dancers are not speaking but perhaps thinking…”Hi Anna’,  “hey Lenny”…”how are you”…”good”…they then began to discuss how to proceed with the duet….he says “Um, put your feet here” then she says “ no you come over here”…this flows into some unusual assortment of body arrangements while they continue to discuss the value and merits of these various moves and how to transition into and out of them…You find yourself being pulled in, you’re not sure why or even how….but just like that you are totally vested….

Somehow, I’m still unsure how but remember being delighted, the duet and its clever dialogue has transitioned to 16 dancers kneeling on large white Scrabble tiles while a string quartet is evenly spaced behind them. The dancers are kneeling in a quasi-samurai position, sitting back on their heels, bodies upright and knees spread apart. Using their hands the dancers start pounding out rhythms on the tiles that grow with complexity, you hear the occasionally voiced “HEY!”….The musicians that were playing behind them are now moving amongst them, all the while the kinetic energy and the saccadic rhythms continue to build in intensity.

Boston Ballet in Alexander Ekman’s “Cacti” Photo: ©Rosalie O'Connor

Boston Ballet in Alexander Ekman’s “Cacti” Photo: ©Rosalie O’Connor

This is Alexander Ekman, the young and much in demand Swedish choreography, he is known for his fast paced timing, witty humor, clever transitions and intentional sarcasm. His works are not so much dance pieces but rather dance-theater experiences; you will experience a visceral reaction, before you will be a visible merger of intellect and emotion, but, well, let’s just say with a little tongue-in-cheek thrown in. It is obvious the Mr. Ekman does not take himself too seriously, that is the brilliance of his work.

His deconstructed choreography is entirely his and reflects how he sees the use of the body in space. You will perhaps note the influences for Forsythe and Kylián or even a hint of Leon Lightfoot. But in today’s world of dance and art how can they not be reflected, it would be like denying the influence of Mozart or Haydn in classical music. He has danced with Royal Swedish Ballet, the Cullberg Ballet and the Leon Lightfoot I just mentioned can only be from his tenure as a dancer and choreographer with NDT II.

Rhythms are as important to his work as is the dancing itself, the breath that lends life, sound and syncopation are woven though his work like thread in a tapestry. Did I mention sarcasm, well there is that, a good dose…after the close of Alexander Ekman’s Cacti, when I was exiting the theatre I realized the this work, for all of its subtle, open-handed, sly and outright commentary was probably the most entertaining diatribe on existentialism ever…well, ok…perhaps not a diatribe…for the sake of getting along I’ll call it a primer on existentialism….

Alexander Ekman in his years as a choreographer has proved to be an artistic multitalented. He often makes film productions. Though usually integrated in his choreographies, these productions also create more and more interest on their own. In 2009 Ekman created the dance film 40 Meters Under for and with Cullberg Ballet, which was broadcasted on National Swedish television. That autumn he collaborated with the Swedish renowned choreographer Mats Ek on video projections for Ek’s play Håll Plats. Ekman also created an installation for the Modern Museum in Stockholm with dancers of Cullberg Ballet.

Boston Ballet in Alexander Ekman’s “Cacti” Photo: ©Rosalie O'Connor

Boston Ballet in Alexander Ekman’s “Cacti” Photo: ©Rosalie O’Connor

Alexander Ekman was born in Stockholm in 1984. He trained at the Operans Balettelevskola 1994-2001. From 2001-2002 he danced at the Royal Opera House in Stockholm. He then joined Netherlands Dans Theater II 2002-2005. During his dance career he worked with choreographers such as Jiří Kylián, Hans van Manen, Nacho Duato, Johan Inger and Mats Ek.

Between 2005-2006 Alexander joined Cullberg Ballet where he had his first breakthrough receiving a prize at the international choreographic competition in Hannover for his piece The Swingle Sisters, for which he also claimed the critics’ prize. In the same year he was chosen as one of the dancers to create a work; Unknown art? for Cullberg Växtverk  project, which was performed in Stockholm and Malmö in April 2006. During autumn of the same year Alexander created choreography, set and music to Flock Work for NDT II, which premiered in November 2006 and became his international breakthrough as a choreographer.



La, La, La Human Steps | “La La La Human Sex Duo No. 1″….

Édouard Lock’s works have appeared on film. 1987’s La La La Human Sex duo no 1, directed by Bernhard Hébert and starring Louise Lecavalier and Marc Béland, is a short black-and-white film which won six international prizes including one from the Festival international du film sur l’art de Montréal. Also directed by Bernhard Hébert, Le petit musée de Velasquez (1994), is a free adaptation of eight choreographed pieces from Infante, c’est destroy. Actress Markita Boies appears alongside the La La La Human Steps dancers in this colour feature film which blends contemporary dance with the world of the great Spanish Baroque painter Diego Velázquez.

As recorded from a PBS broadcast of Alive From Off Center back in the late 1980’s, this is an adequate VHS capture of a La La La Human Steps’ performance of Human Sex. There are a couple other releases of this performance at You-tube right now, but I think this one is probably a higher-quality capture. I hope everyone will enjoy it. I find it impossible to keep my jaw closed while I watch this. Truly amazing…

…In 1986 Mr. Lock won a Bessie Award for his 1985 work Human Sex, after the piece was shown during the Awards show Mark Morris screamed out “Genocide” at the top of his voice….


Leart Duraku’s “La Table D’Ehpysis” | Les Ballets de Monte-Carlo….

Les Ballets de Monte-Carlo

Choreography: Leart Duraku


Beatriz Uhalte Cisneros, Anjara Ballesteros,George Oliveira, Christian Tworzyanski, Alexis Oliveira, Daniele Delvecchio & Ediz Erguc.

The piece was created for “Les Imprévu”,  The Young Choreographers’ showcase and are collaborations made with the Scenography students from the city of Monaco’s Pavilion Bosio Art School.

“Martha Graham: The Early Years” by Merle Armitage….

Endpapers of Martha Graham by Merle Armitage. Los Angeles M. Armitage, 1937. Crossett Library

Endpapers of “Martha Graham: the Early Years” by Merle Armitage. Los Angeles M. Armitage, 1937. Crossett Library

Mary Anthony, Choreographer and Teacher of Modern Dance, Dies at 97….

MAnthonyMA14052651-0006Mary Anthony, recognized as one of the leaders of the modern dance movement as well as a national treasure and legend of modern dance, died in her studio home in the East Village in New York City on May 31, 2014 at the age of 97.  Former company member, Daniel Maloney who is the Artistic Director of the Mary Anthony Dance Theater Foundation, was like a son to her and took care of her to the end. Among her students were Donald McKayle, the modern-dance choreographer, and Arthur Mitchell, the New York City Ballet star and co-founder of Dance Theater of Harlem.

Others who studied and performed with her include Ronald K. Brown and Elisa Monte, as well Ulysses Dove and former major dancers in the Martha Graham company like Yuriko Kimura, Ross Parkes, Daniel Maloney (all close associates of Ms. Anthony in her own troupe), Richard Kuch and Steve Rooks.

Mary Anthony, a native of Kentucky, began her career with a scholarship in dance with Hanya Holm in the early 40’s, eventually joining the Holm Company and becoming her assistant. She was an original member of the radical modern dance organization The New Dance Group in the 1940’s. Ms. Anthony danced in concerts with Joseph Gifford as well as appearing in many Broadway Shows. Her staging of the London production of Touch and Go, in which she danced one of the leading roles, resulted in a long association as choreographer for Italian Musical Theater.

Mary Anthony

Mary Anthony

Ms. Anthony started the Mary Anthony Dance Theater in 1956. Following the premier of Ms. Anthony’s signature work Threnody – for which composer, Benjamin Britten gave his special permission to use his Sinfonia da Requiem – Louis Horst wrote, “Here is the most beautiful and complete dance composition this observer has seen.” Her company performed throughout the United States for over 40 years, including appearances at Jacob’s Pillow, The American Dance Festival, the Berkshire Music Festival at Tanglewood and toured as part of the Dance Touring Program of the National Endowment for the Arts, and for over 30 years presented home season performance in New York City. Jennifer Dunning of the New York Times described Ms. Anthony’s Songs as “hauntingly lyrical with the emphasis on simplicity and ageless craft.” In 1996, Mary Anthony Dance Theater celebrated its 40th Anniversary seasons at The Sylvia and Danny Kaye Playhouse in New York City. In 2004 Ms. Anthony reconstructed one of her oldest works, Women of Troy, on Dancefusion, which was presented in Philadelphia along with her legendary solos Lady Macbeth danced by Mary Ford Sussman. In 2009 her work The Devil in Massachusetts from 1952 was reconstructed by the 360º Dance Company.

An internationally recognized choreographer, Ms. Anthony has had her works added to the repertory of Pennsylvania Ballet, Bat-Dor Company of Israel, the Dublin City Ballet, Dancefusion in Philadelphia and the National Institute for the Arts of Taiwan. Ms. Anthony taught at the Herbert Berghof Studio for Actors in New York City for many years.  She taught at her own studio at 736 Broadway for over 50 years, retiring only last year.   In November 2013 a Tribute to Mary Anthony was presented as part of Fridays At Noon at the 92nd Street Y, honoring her legacy in modern dance and her 97th Birthday.

Mary Anthony has been an extraordinary presents in the dance community and the artistry and depth of her choreography is timeless. She will live on through the dancers she trained and the people who loved her. Andrea Pastorella, one of her long-time students stated the following, “Mary continued to teach, she never lost her “Eagle Eye” even when the right eye failed she never missed a blink. She would only give a compliment if she really meant it. Her honesty was relentless. One of the things that she loved most was teaching her choreography workshops which culminated twice a year at her studio with performances. She used to say: ‘These shows are what I live for’!”

Ms. Anthony was the 2004 recipient of the Bessie Award for lifetime contribution to the field of modern dance. In 2006 she received the Martha Hill Award. Other awards and honors include: Joy Ann Dewey Beinecke’s Balasaraswati Award from American Dance Festival, American Dance Guild Award of Artistry, American Dance Association Award, New York State Dance Education Award, and Channel One New Yorker of the week. In 2004 she was entered into the Dance Hall of Fame as part of an installation for the New Dance Group at the Saratoga Dance Museum and in 2011 she received a Citation from New York City Comptroller Scott Stringer at her 95th birthday, declaring November 11 as Mary Anthony Day.

Donations in Mary Anthony’s memory can be made to the Mary Anthony Dance Theater Foundation and sent to 736 Broadway, New York NY 10003.

Alicia Amatriain & Jason Reilly in Itzik Galili’s “Mona Lisa”….


Choreography: Itzik Galili

Musical concept & composition: Thomas Höfs with Itzik Galili

Costumes: Natasja Lansen

World premiere: February 22, 2003, Stuttgart Ballet

Dancers: Alicia Amatriain & Jason Reilly