Sid Smith

Molly Shanahan calls her new work "The Delicate Hour," a lovely title referring to the bittersweet commingling of loss and anticipation that often floods human consciousness at dusk. "The title...

Marking their 10th anniversary, the Seldoms celebrated over the weekend by converting the Harris Theater into their own deconstructionist romper room. Part performance and part guided tour, "This Is Not...

"This Is a Damage Manual" is ambitious and astute, taking on as its topic the treatment of — and attitudes toward — mental illness spanning decades, in particular its effects...

All the grand passion aside, the State Ballet Theatre of Russia's "Romeo and Juliet" is a lean, workmanlike affair, technically clean but rarely inspiring. Limited scenic effects don't help, the...

The folks who run Les Ballets Trockadero de Monte Carlo are cagey when it comes to programming, typically bringing works we haven't seen in a while, even if they're long-standing...

Director Wim Wenders calls his "Pina" a film "for Pina Bausch," implicitly, in other words, not so much one about her, and that distinction turns out to be a big...

Hubbard Street Dance Chicago is about to unveil a new venture in original choreography, two separate programs of premieres, most of them created by its own dancers and staff. The...

"The Attic Room," one of two works from the RE|Dance Group performed over the weekend at Links Hall, is ferociously frustrating, its bright spots sullied by its weaknesses. Choreographer Michael...

Not long ago, a ballet teacher in a studio in Paris, exasperated by the ho-hum execution of the class, exclaimed, "Don't move like the Paris Opera Ballet. Move like the...

"At most performances, audiences are told, just before the curtain, not to crinkle any more wrappers, not to make noise, certainly not to eat," Michael Tiknis, president and managing director...