A large group of dancers wearing earth-toned unitards and long skirst rehearses in a wood-floored dance studio. Each dancer raises their left leg in turned-in attitude, extends their left hand in front of their torso with the fingers splayed, and holds their right hand in front of their mouth.

Why Charles Weidman’s “Lynchtown” Still Resonates Today

The Sokolow Theatre/Dance Ensemble will perform “Lynchtown,” the 1936 masterwork by modern dance pioneer Charles Weidman, at the Paul Taylor Dance Studios this weekend—and nearly nine decades after its premiere, the historic work feels eerily relevant. “Lynchtown” is part of a Weidman trio titled Atavisms, in which the choreographer explores the effects of groupthink. But […]

A spread of pages from the December 1994 issue of Dance Magazine. The right page is mostly taken up by an image of Paloma Herrera, wearing a pink classical tutu, holding a bouquet and smiling. Her partner and members of the corps de ballet look on from upstage. The headline of the story is, "Paloma Herrera, Younger than Springtime: Paloma Herrera at age 18 is American Ballet Theatre's budding superstar."

TBT: Paloma Herrera at 18 Was “A Prodigy At Work”

In the December 1994 issue of Dance Magazine, John Gruen wrote of an 18-year-old American Ballet Theatre soloist named Paloma Herrera, “Here was a prodigy at work.” He was referring to her performances of Balanchine’s demanding Theme and Variations that spring; to have been in the audience, he wrote, “was to be in the presence of a near miracle.”

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