Eleni Loving unspools movement like a magic trick. Dancing Twyla Tharp’s percussive The Fugue (1970/2024) with Gibney Company, she captures the work’s airy groundedness with precise musicality and a deadpan delivery. In Jermaine Spivey and Spenser Theberge’s Remains, she is a marionette who has cut her own strings, her gestures at once precisely calibrated and […]

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