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Brigadoon is coming home. We’re thrilled to announce that Steven Pasquale, Kelli O’Hara, and Robert Fairchild will star in Lerner & Loewe’s transcendent romantic fantasy about the past, the present, and what it means to (almost) be in love. City Center’s concert production of Brigadoon will run from November 15-19, 2017, with direction and choreography by Christopher Wheeldon.

The November 15 performance of Brigadoon will be City Center’s annual Gala, honoring Tony Award-winning Broadway producer Stacey Mindich. Funds raised at all six benefit performances will allow City Center to make the best in the performing arts accessible to the widest possible audience by subsidizing affordable tickets throughout the year.

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April 20, 2017 by New York City Center


Liz Gerring, Pam Tanowitz, and Michelle Dorrance, photographed by Matt Karas.

At City Center, what you see onstage is just the beginning. Behind the back wall of the theater is a hive of creative activity: nine stories of rehearsal rooms, offices, and dance studios that were inaugurated by Balanchine in the 1940s. You might find the likes of Twyla Tharp, Wendy Whelan, and Kyle Abraham rehearsing there on a given afternoon. This season, three acclaimed choreographers will take up residence, thanks to City Center’s Choreography Fellowship program: Liz Gerring, Pam Tanowitz, and Michelle Dorrance.

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October 13, 2016 by New York City Center
City Center Studio Series

2014 Choreography Fellow Silas Riener performs as part of City Center’s Studio 5 series; photo by Christopher Duggan.

They’re not pole dancers, yet there they are again each day, hanging onto poles and swaying—in the subway, that is. Choreographers who don’t have their own studios are perpetually commuting from space to space, clutching dance bags filled with electronics and sweaty clothes.

“It’s quite a nomadic lifestyle, being an American choreographer,” says Brian Brooks. Yet there is hope. Brooks is one of the artists whose life changed dramatically when he received New York City Center’s Choreography Fellowship.

Studio space is only one component of the Fellowships, which were established in 2011 by City Center President & CEO Arlene Shuler. “There are so many talented choreographers who don’t have an artistic home,” says Shuler. “We wanted to change that.” Along with 200 hours of free studio time, the Fellowship also provides artists with a stipend and access to the know-how of City Center arts administrators. Yet it’s the studios that choreographers lust after. Gigantic by the standards of contemporary dance, and cushioned with Marly flooring, these spaces are clean and quiet—far above the grit and rattle of the subway. Here dancing bodies can relax, the creative mind can focus, and movement starts to flow.

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April 29, 2015 by New York City Center
Jacob's Pillow 2013

Wendy Whelan, backstage at Jacob’s Pillow in 2013. Photo by Christopher Duggan.

Last September, at an event at New York City Center, the former New York City Ballet star Damian Woetzel looked Wendy Whelan in the eye and said, “You’re gipping the system.” Whelan laughed heartily. The thirty-year veteran of New York City Ballet was about to retire, at the age of 47. Unlike most ballerinas in the late stages of their careers, however, she wasn’t planning to quit dancing. She had already launched her own independent project, an evening of duets called Restless Creature, which had premiered at Jacob’s Pillow in the summer of 2013. A tour was planned for the months after her farewell at City Ballet, with a New York premiere at the Joyce in May. Before taking her leave from one career, Whelan had begun a new one, still a dancer, but on her own terms.

First, she had to settle a score with her body. Not long after the Jacob’s Pillow appearance in 2013, Whelan underwent surgery on her right hip for a complex labral tear. Without getting too graphic, the labrum is a ring of cartilage that lines the hip joint, where the femur meets the socket. Rupture means pain and loss of flexibility. As Whelan has explained, “I couldn’t do a fifth position”—which is like a pianist not being able to play a C Major chord. After trying every kind of therapy she could find, Whelan finally decided to go under the knife. Her recovery was remarkable but slow. By last fall she was back onstage at New York City Ballet, debuting in an extraordinary role created for her by Alexei Ratmansky in his Pictures at an Exhibition. It captured her unique qualities: that ineffable poetry, the ability to make every moment count, and her powerful presence.

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March 24, 2015 by New York City Center