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Storytelling

While dances sometimes contain narrative elements, there’s no single way to tell a story through movement. Highlighted here are some examples of Pillow performances that embody different kinds of storytelling.

10 performances

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Storytelling

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Big Dance Theater

Alan Smithee Directed This Play: Triple Feature, 2015

The narrative in a typical Big Dance Theater work is often picked apart and put together in surprising ways, in this instance combining bits of Dr. Zhivago with Terms of Endearment.

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Playing 1 of 10

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New York Theatre Ballet

Cinderella, 2015

Donald Mahler’s Cinderella was premiered at the Pillow more than 30 years ago, and brought back in 2015 by New York Theatre Ballet.

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Playing 2 of 10

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David Roussève / REALITY

Stardust, 2014

The lead character in David Roussève’s Stardust appears onstage only through his text messages, creating a coming-of-age story for the Twitter generation.

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Playing 3 of 10

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Companhia Urbana de Dança

Na Pista, 2014

Rather than one through-line narrative, Sonia Destri’s Na Pista combines the individual stories of its dancers to create a montage of personal histories.

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Playing 4 of 10

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Irma Omerzo

Mi-Nous, 2003

This Croatian choreographer used her own experience of a separation to create a very personal duet entitled Mi-Nous, presented here in 2003.

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Playing 5 of 10

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Martha Clarke

Vers la Flamme, 1999

This riveting excerpt from Vers la Flamme weaves together a story by Chekhov and a Scriabin Prelude played live by pianist Christopher O’Riley.

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Playing 6 of 10

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Daniel Ulbricht / Ballet 2014

Fancy Free, 2014

When Daniel Ulbricht’s company brought Jerome Robbins’s Fancy Free back to the Pillow for the first time since 1949, audiences cheered a ballet milestone.

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Playing 7 of 10

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Ballet Maribor

Radio and Juliet, 2009

Telling the Romeo & Juliet story in an entirely new way, this company from Slovenia used the music of Radiohead in the wildly popular Radio and Juliet.

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Playing 8 of 10

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Kidd Pivot Frankfurt RM

Dark Matters, 2011

Crystal Pite’s Dark Matters holds the distinction of being performed to sellout crowds in two consecutive seasons, a fitting honor for this spellbinding work.

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Playing 9 of 10

Nora Kaye & Hugh Laing

The Gods Go a-Begging, 1951

This Balanchine rarity was created for Diaghilev’s Ballets Russes in 1928 and recreated here by Nora Kaye and Hugh Laing in 1951.

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Playing 10 of 10

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