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Monday, March 27, 2017

In Context: Doug Varone and Dancers

Choreographer Doug Varone presents three works—featuring scores by Philip Glass, Julia Wolfe, and Michael Gordon—representing the past, present, and future of his peerless company. Context is everything, so get closer to the production through our series of curated links, videos, and articles. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #DougVarone.

Program Notes

Doug Varone and Dancers (Coming soon!)


Doug Varone's Passions (BAM blog)
The choreographer discusses two sides of his brain, “moments of realness,” and making work for the past 30 years.

Joan Mitchell Foundation
Explore the Joan Mitchell pastel drawings that inspired Varone’s new piece, “ReComposed.”

Dance: Doug Varone's Final Performance
An engaging chronicle of Varone’s final appearance as a dancer in his own work, two years ago at the Joyce theater.

Watch & Listen
An up-close glimpse of the three pieces featured in this 30th anniversary program.

Open Rehearsal with Doug Varone & Brenda Angiel (YouTube)
Watch an open rehearsal in English and Spanish, recorded in 2013 to document Doug Varone and Dancers’ collaboration with Brenda Angiel Aerial Dance Company. Their cross-country exchange was facilitated through DanceMotion USASM, and presented in the 2013 Next Wave Festival.

Now your turn...

What did you think? Tell us what's on your mind in the comments below and on social media using #DougVarone.


  1. Gorgeous show! I particularly liked the first dance -- Possession -- with the score by Phillip Glass. The movement was so full-bodied fluid, with shifts in dynamics, patterns, relationships -- all coming together to serve the title in a deeply intuitive and moving way.

  2. I was amazed at the athleticism and precision of the dancers. I was not so thrilled with the artistic vision, however. Perhaps I'm missing something by not getting out to enough dance performances; but there seemed to be very little purpose behind the moves. I guess Mark Morris has spoiled me in a way, since he absolutely refuses to allow his dancers to perform with pre-recorded music. I know it's an expensive proposition, but if you think about it, having live dancers perform with live musicians is far more exciting for everyone involved.

  3. I could not help but notice the expression in the dancers' hands. I have never noticed hands in the quite the same way as I did during these dances. They were such an intentional part of the movement, and communicated immediate emotions. I also realized, during the course of the evening, that one of the reasons I love dance so much is that it is the intersection of all of the art forms: music, art, and movement, to name but a few.


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