Photo by Chelsea Robin Lee, Courtesy Ladenheim

25 to Watch 2018: Kate Ladenheim

Kate Ladenheim's dances share many attributes with their maker, namely their vibrancy, urgency, awkwardness and frequent brilliance. Her representations of hackers, botnets and DDoS attacks in her dance HackPolitick (which references the internet collective Anonymous) as performed by her Brooklyn company, The People Movers, won her the honor of being quite possibly the first contemporary choreographer to be written about in Forbes. She recently produced and collaboratively choreographed Transmission, a play that premiered at the Edinburgh Festival Fringe that deployed cutting-edge augmented-reality mobile-phone apps, podcasts and live performances.


Ladenheim is a professional multi-hyphenate. In addition to performing in her own work and with Third Rail Projects, she curates and produces CRAWL (a roving dance show in New York City featuring emerging dance talents), consults on design and technology for arts organizations, and works increasingly on the international performance scene. There's a word for artists as ferociously talented, well connected, managerially savvy, financially successful and artistically adventurous as Ladenheim: impresario.


Find out who else made Dance Magazine's "25 to Watch" list this year.

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Beverly Gallegos, Courtesy DM Archives

#TBT: The Summer Rudolf Nureyev and Erik Bruhn Shared a Stage

In the summer of 1975, the National Ballet of Canada's extended tour stop in New York City overlapped with American Ballet Theatre's season. Both companies took advantage of having two of ballet's greatest male stars, Rudolf Nureyev and Erik Bruhn, at their disposal. Bruhn, however, had retired from portraying princes three years earlier and appeared primarily in character roles—the Dr. Coppélius to Nureyev's Franz, the Madge to his James, giving audiences the rare chance to see them share a stage.

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