Rachel Straus - Dance Writer

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Juilliard Dance

Published: October 20, 2016
Category: review

Fall for Dance Offers a Grand, International Finale

By Rachel Straus, MusicalAmerica.com October 20, 2016

Shantala Shivalingappa. Photo by Hector Perez

There is a popular saying that “dance is a universal language.” This statement raises eyebrows among dance anthropologists. They argue that dance is a language, like any other, and it needs to be studied in order to be understood. That []

Published: December 15, 2015
Category: profile

Rocío Molina, Flamenco Dance Artist

By Rachel Straus

This year, flamenco dancer/choreographer Rocío Molina earned the U.K.’s Olivier Award for Outstanding Achievement in Dance for Bosque Ardora (Ardent Forest), a 2014 work that puts her in a league with pioneering female choreographers Pina Bausch and Martha Graham. In it, Molina takes a scalpel to the socialization of women by exploring []

Published: April 18, 2013
Category: review

Nederlands Dans Theater, sans Kylián

By Rachel Straus

Nederlands Dans Theater’s brief visit (April 12-13) to the former New York State Theater was greeted with sold-out audiences and standing ovations. This was to be expected; the company hasn’t been seen in New York since 2004, and it has been much admired for its folk-inflected, ballet-meets-modern, kinetically charged romantic works by []

Published: June 20, 2012
Category: review

Dido & Aeneas, a "Choreographic Opera"

By Rachel Straus

BERLIN — The story of Dido & Aeneas has long been popular among contemporary choreographers. In 1989, Mark Morris created his Dido and Aeneas to Purcell’s late 17th-century opera. In 1999, Pina Bausch’s O Dido employed nothing of the opera score, but incorporated the myth’s water imagery. Choreographer Sasha Waltz []

Published: August 1, 2011
Category: history

Kurt Jooss: The founding father of Tanztheater

By Rachel Straus

On the brink of World War II, German choreographer Kurt Jooss arrived in New York with his company to perform. Before curtain, Jooss learned that some black audience members had been barred from their seats. Jooss told the theater administration that unless they amended their whites-only policy, there would be no []

Published: November 18, 2004
Category: review

The Appearance of Good Fortune: Pina Bausch at BAM

By Rachel Straus

In a white room the size of an airplane hangar, two men sit on a high table with their legs dangling several feet from the floor. One of the men tips his body and careens over the edge. Just before smacking his head against the ground, his friend, without glancing, snatches him []