As the Gibney Empire Expands, So Does the Dance Company
Photo by Scott Shaw
Gina Gibney runs two enormous dance spaces in New York City: Together they contain 23 studios, five performance spaces, a gallery, a conference room, a media lab and more. Gibney is now probably the largest dance center in the country. It's not surprising that Dance Magazine named Gina Gibney one of the most influential people in dance today.
The new branding calls for it to simply be called Gibney (as opposed to Gibney Dance), to reflect its range of public programs, affordable work space and commitment to social justice issues. In addition to Gibney's new partnership with the Joyce Theater Foundation and its support for emerging artists and activists, Gibney also houses the Gibney Dance Company, which was founded in 1991.
Gina Gibney is always challenging her dancers with new projects. The company has brought dance to women's shelters and conducted Community Actions combining artistry and outreach all over the world. The company members are also empowered to make their own works. The upcoming performances on May 3–5 will feature a new work by senior company director Amy Miller called Valence, with an original score by Peter Swendsen. Guest choreographer Bryan Arias, who recently made a piece for Paul Taylor Dance Company, premieres One Thousand Million Seconds. Both works show a poignant sense of connection between dancers.
Devon Teuscher performing the titular role in Jane Eyre. Photo by Gene Schiavone, Courtesy ABT
Story ballets that debut during American Ballet Theatre's spring season at the Metropolitan Opera House are always the subject of much curiosity—and, sometimes, much debate. Cathy Marston's Jane Eyre was no different. The ballet follows the eponymous heroine of Charlotte Brönte's novel as she grows from a willful orphan to a self-possessed governess, charting her romance with the haughty Mr. Rochester and the social forces that threaten to tear them apart.
While the ballet was warmly received in the UK when Northern Ballet premiered it in 2016, its reception from New York City–based critics has been far less welcoming. A group of editors from Dance Magazine and two of our sister publications, Dance Spirit and Pointe, sat down to discuss our own reactions.