this week in dance

BEIJING DANCE THEATER: WILD GRASS

WILD GRASS

Beijing Dance Theater returns to BAM with poetry-inspired WILD GRASS (photo by Li Huimin)

NEXT WAVE FESTIVAL
Brooklyn Academy of Music
BAM Harvey Theater
651 Fulton St. between Ashland & Rockwell Pl.
October 15-18, $20-$40, 7:30
718-636-4100
www.bam.org
www.beijingdancetheater.org

Three years ago, China’s Beijing Dance Theater made its U.S. debut with the three-part Haze, an emotional, abstract examination of environmental and economic crises that was part of BAM’s 2011 Next Wave Festival. Founded in 2008 by choreographer Wang Yuanyuan, visual artist Tan Shaoyuan, and lighting and set designer Han Jiang, BDT is back in Brooklyn for the 2014 Next Wave Festival this week with another three-part presentation, Wild Grass. In choreographing the work, which combines tradition with modernity, Wang found inspiration in Lu Xun’s seminal 1927 prose-poetry collection, Wild Grass, also known as Yecao and Weeds, which includes such poems as “The Shadow’s Leave-Taking,” “My Lost Love,” “Revenge,” “Hope,” “Snow,” “Tremors of Degradation,” and “The Awakening.” The three sections, “Dead Fire,” “Farewell, Shadows!” (aka “Farewell of the Shadow”), and “Dance of Extremity,” each of which will have a different kind of floor, delve into the nature of human spirit and perseverance. The first movement, in BDT’s own poetic description, “has burning form but no flickering. It stands frozen like corals, with black smoke curdled on its tips that makes you wonder whether it has just emerged from a house on fire — and that is why it looks burnt and dead.” That is followed by “Farewell, Shadows!,” in which “I linger between light and darkness; know not whether it is dusk or dawn. Let me raise my ashen grey hand and feign a toast; I shall journey far, far away, unbeknownst to all.” The evening concludes with “Dance of Extremity,” where “there remains only the vast wilderness; this dried couple, completely naked, sword in hand, stand in the middle. With dead men’s eyes they observe with gusto the withering passers-by in a great bloodless carnage. They are eternally plunged into life’s giddy, excruciating bliss.” Wild Grass runs October 15-18 at BAM’s Harvey Theater; on October 18, Wang will lead an afternoon class at the Mark Morris Dance Center for experienced and professional dancers ($25, 3:00).

Dancers glide across the stage in “Farewell, Shadows,” second section of WILD GRASS (photo by Jan Jiang)

Dancers glide across the smooth stage in “Farewell, Shadows,” second section of WILD GRASS (photo by Jan Jiang)

Update: As with Beijing Dance Theater’s 2011 U.S. debut at BAM, Haze, the company’s 2014 Next Wave Festival presentation, Wild Grass, is very much about surface. However, while the three sections take place on three different floor surfaces, artistic director, choreographer, and cofounder Wang Yuanyuan and the dancers never quite get below the surface in the work, which was inspired by the prose poetry of writer and activist Lu Xun. The fourteen dancers are individually technically proficient, but they never really catch fire as a unit, although Wu Shanshan stands out when she invigorates the second part with passion and humor otherwise missing from the evening. At several points, it’s possible to see how the dancers prepare their bodies for what is going to happen next, like a baseball hurler telegraphing his pitches. The first movement, “Dead Fire,” set to a minimalist piano score composed by Su Cong and played by He Peixun, takes place on a standard black dance floor that is continually littered with paper confetti that evokes snow, with the moon and white-capped mountains on the backdrop; “Farewell, Shadows” features electronic music by Biosphere and Kangding Ray and a slippery white floor across which the women glide, towed by male dancers; and “Dance of Extremity” has music composed by Wang Peng, with Yahg Rui on violin and Wang Zhilin on cello, as the dancers trudge through a straw-covered field that rises slightly in one corner, where a man stands next to a hanging rope. To paraphrase what we said in our review of Haze, there’s a lot to admire about Wild Grass, but Wang never quite achieves the narrative flow she aspires to.

ONTHEFLOOR: REMIX

Liberty Hall at the Ace Hotel
20 West 29th St. at Broadway
Monthly Saturday nights at 8:00, October 11, November 8, December 13, $15-$20
www.thedancecartel.com

For the last few years, the Dance Cartel has been presenting the immersive OntheFloor in the downstairs Liberty Hall at the Ace Hotel, where courageous, uninhibited performers move in and around the crowd as they groove to funky beats with an enticing but controlled abandon. Conceived and choreographed by Ani Taj and codirected with Sam Pinkleton, OntheFloor will be back at the Ace Hotel with Remix, a brand-new edition taking place October 11, November 8, and December 13 back in Liberty Hall. Performers Alexandra Albrecht, Aziza Barnes, Emily Bass, nicHi douglas, Thomas Gibbons, Audrey Hailes, Sunny Hitt, Danika Manso-Brown, Justin Perez, and Taj will be joined by such special guests as Zuzuka Poderosa, Grace McLean, Batala NYC, and DJs Average Jo, Matt Kilmer, and Stefande. Be prepared for things to get wild before, during, and after the ninety-minute show.

ART IN ODD PLACES 2014

Maskull Lasserre & Central Park Tours Inc.

Maskull Lasserre & Central Park Tours Inc. will offer caged rides on Fourteenth St. on Friday and Saturday

14th St. from Ave. C to the Hudson River
October 9-12, free
www.free.artinoddplaces.org

Walking through New York City is like ambling through the largest performance art project in the world. From October 9 to 12, actual performance art will take place across 14th St., from Ave. C west to the Hudson River, for the tenth annual Art in Odd Places. The free festival focuses on the many meanings of the words “free” and “freedom,” describing itself thusly: “Open. Autonomy. Gift. Independent. Wild. Nothing. Everything.” As you make your way across 14th, distinguishing the crazies who are merely mumbling out loud from some of the artists inviting you into their realm may be difficult at times, so be careful. Much of the festival, curated by Juliana Driever and Dylan Gauthier, is participatory, so come prepared to get involved. Below are only some of the highlights.

Thursday, October 9
and
Friday, October 10

Andrew McFarland & Emma Dessau: The Story Store, in which participants donate a small object, telling the story behind it, and can take a story and object in return (10/9, outside Stuyvesant Town, 6:00 – 8:00; 10/10, Tompkins Square Park, 4:00 – 7:00)

Complimentary

Leah Harper’s “Complimentary” will dispense positive outlooks from a gumball machine

Thursday, October 9
through
Sunday, October 12

Leah Harper: Complimentary, gumball machine dispenses compliments, 474 West 14th St., all day long

Ienke Kastelein: Have a Seat on the Sidewalk (Walking with Chairs), passersby are invited to sit in chairs, converse, then put the chair back somewhere else along the street, 14th St. & Ave. B, 12 noon – 6:00

Domenique Himmelsbach de Vries and Marieke Warmelink: The Embassy of Goodwill, in which the artists will offer free help to passersby in the interest of raising the social image of the Netherlands, Union Square L subway station, advance reservations available, 12 noon – 6:00 pm

Anabella Lenzu/DanceDrama: The Grass Is Always Greener . . ., dance theater examining immigration from the turn of the twentieth century to the present day, 44 East 14th St. by Whole Foods, 12:30 – 1:30

Jesse Eric Schmidt: Nevertheless, in which Schmidt tries to move immovable objects, various times and locations

Rory Golden: Duty Free Ranger, dandy park ranger strolls along 14th St., walking backward with a mirror, begging for donuts, turning into a baton twirler, and intervening into passersbys’ personal freedom, (10/9, Ave. A to First Ave., 6:00 – 9:00; 10/10, Union Square to Ave. A, 6:00 – 8:00; 10/11, Seventh Ave. to First Ave., 2:00 – 6:00; 10/12, Seventh Ave. to First Ave., 2:00 – 5:00)

Katya Grokhovsky: Slow Dance, passersby can dance with the artist and other performers (10/9, First Ave., 1:00 – 3:00 and 5:00 – 7:00; 10/10, Ninth Ave., 12 noon – 2:00 and 3:00 – 5:00; 10/11, Tenth Ave., 1:00 – 3:00 and 4:00 – 7:00; 10/12, Union Square, 12 noon – 2:00, 3:00 – 5:00, and 6:00 – 8:00)

Jody Oberfelder: Street Greet, dancer-choreographer Jody Oberfelder interviews pedestrians, discussing the meaning of being free, down escalator at 14th St. & Fourth Ave., 12:30 – 2:00

(photo by Jordan Matter)

Dancer and choreographer Jody Oberfelder will discuss freedom on a down escalator during AiOP 2014 (photo by Jordan Matter)

Friday, October 10
and
Saturday, October 11

Willard Morgan: Debt!, with Ideal Glass member Willard Morgan giving away debit cards in light of the financial meltdown, 243 East 14th St., 3:00 – 7:00

Maskull Lasserre & Central Park Tours Inc.: Obverse, prison-cell pedicabs will shuttle passengers around the festival, 501-599 West 14th St. (10/10, 11:00 am – 9:00 pm; 10/11, 10:00 am – 6:00 pm)

Friday, October 10
Saturday, October 11
Sunday, October 12

eteam: Nothing for Free, group will be doing nothing all day long, 20-22 West 14th St.

Jim Dessicino: Edward Snowden Statue, south side of Union Square pavilion, 10:00 am – 5:00 pm

Kris Grey: Procession, drag performance walk in honor of Coney Island bearded lady Jean Carroll (10/10, Ave. C to First Ave., evening; 10/11, First Ave. to Fifth Ave., 12 noon – 4:00; 10/12, Fifth Ave. to Ninth Ave., 12 noon – 4:00)

Emilio Vavarella & Daniel Belquer: MNEMODRONE, in which drone asks people to share memories through a toll-free phone number, 65 11th Ave. (10/10 opening, Campos Plaza; 10/11-12, 9:00 am – 5:00 pm, 14th St. Park)

Embassy of Goodwill

Domenique Himmelsbach de Vries and Marieke Warmelink will promote the Netherlands while helping people in the “Embassy of Goodwill”

Saturday, October 11
Caitlin Ryan: Free T-Shirts, between seventy-five and one hundred passersby are invited to create their own T-shirt using the word free, 35-99 East 14th St.

BAbySkinGlove: #freeurban, in which participants can pay to clear their conscience, 148 West 14th St. at Sixth Ave., 12 noon – 4:00 pm

Saturday, October 11
and
Sunday, October 12

Hannah Hiaasen: Applause Pause, pedestrian interruptions, 11:00 (First Ave.), 12 noon (Second Ave.), 2:00 (between First & Second Aves.), 4:00 (Union Square), 6:00 (Tenth Ave.)

Sunday, October 12
AiOP: FREE, walking curatorial tour led by Juliana Driever and Dylan Gauthier, 14th Street Park to Campos Plaza, 4:00

TWI-NY TALK: YANIRA CASTRO

(photo by Simon Courchel)

Yanira Castro’s latest work, COURT/GARDEN, premieres October 9-11 at Danspace Project (photo by Simon Courchel)

COURT/GARDEN
Danspace Project
St. Mark’s Church in-the-Bowery
131 East Tenth St. between Second & Third Aves.
October 9-11, $20, 8:00
866-811-4111
www.danspaceproject.org
www.acanarytorsi.org

Since 2009, San Juan-born, Brooklyn-based choreographer Yanira Castro has been creating site-specific dance installations and participatory performances for her company, a canary torsi, in such unusual places as a bathroom in the Gershwin Hotel (Dark Horse/Black Forest) and both indoors and outdoors at the Brooklyn Botanic Garden (Paradis). Her newest piece, Court/Garden, was developed through residencies at the Maggie Allesee National Center for Choreography in Tallahassee, Amherst College, and Governors Island. The work, which Castro calls “a spectacle in three acts,” premieres October 9-11 at Danspace Project at St. Mark’s Church in-the-Bowery, where the audience will be required to move around during the performance. Inspired by the imperial ballets that became popular during the reign of Louis XIV, who was a dancer himself, Court/Garden features Simon Courchel, Tess Dworman, Luke Miller, Pamela Vail, Darrin Wright, and Kimberly Young along with “cupids” Tony Carlson and Kirsten Schnittker. The score will be performed live by composer Stephan Moore, with video by Peter Richards. The crew also includes a “perfumer,” herbalist Jennifer Goodheart; the costumes are by Miodrag Guberinic, while Kathy Couch designed the environment.

Court/Garden was partly informed by dance historian, theorist, and choreographer Mark Franko’s “Dance and the Political: States of Exception,” published in the Summer/Winter 2006 issue of Dance Research Journal. In the article, Franko writes, “I have asked by means of choreography whether some baroque dance could deal with subjugation as an effect of representative publicness rather than only with the embodiment of representative publicness itself. In other terms, I have attempted to conjugate trauma with sovereignty.” On October 11, Castro will delve further into her creative process and “representative publicness” in Conversations without Walls, an afternoon symposium with visual artist Suzanne Bocanegra, Danspace Project Platform curator Claudia La Rocco, choreographer and video artist Jillian Peña, choreographer and dancer Will Rawls, former New York City Ballet dancer Kaitlyn Gilliland, and Franko; in addition, Melissa Toogood will perform a short piece choreographed by Pam Tanowitz. Shortly after moving all the necessary equipment from Governors Island to Danspace Project, Castro discussed location, the performer-spectator dynamic, Kickstarter, the derivation of the name of her company, and more.

twi-ny: Location is central to your work. How does space inform your work? Does space come before concept, or is it the other way around?

Yanira Castro: Concept usually comes first. All the works are interrelated for me in how the works are asking questions about how we see and participate in culture/live performance, how we read and how we form understanding. Once I understand the nature of the question we are asking in a particular work, then I can begin to consider location. For me, location is a container/a frame and also about permission; a space has to invite the relationship between audience and event that we are considering.

I usually know pretty early the kind of frame that is necessary for something — small, enclosed, intimate, public space — a public bathroom — or large, sprawling, outdoor lawn. And then I go looking for the space. In New York, that is half of the adventure.

twi-ny: You spent part of this summer in an LMCC residency on Governors Island. Did you know much about the island and its history before going there? How did it impact your creative process?

Yanira Castro: We really used our time there as studio time. We did not engage with Governors Island as a site. Creatively, it is where we put many of our conceptual ideas together for the first time. So the residency in and of itself was highly important as a point of discussion around the ideas of the work.

(Courtesy of Maggie Allesee National Center for Choreography / Photo by Chris Cameron)

Dancer-choreographers Simon Courchel, Pamela Vail, Kimberly Young, Luke Miller, and Darrin Wright rehearse COURT/GARDEN (courtesy of Maggie Allesee National Center for Choreography / photo by Chris Cameron)

twi-ny: Court/Garden is being presented as part of Danspace Project’s fortieth anniversary. How did the transition go from Governors Island to St. Mark’s Church?

Yanira Castro: We didn’t really work that way. We didn’t try to make it at Governors Island and so there was no transition really. We used Governors Island for more conceptual work and sketches for what would happen at Danspace.

twi-ny: Is there a dream space you’d love to work in that you haven’t yet?

Yanira Castro: Because I don’t start off with a site first, there isn’t a space I long to work in. But I love large spaces in transition. Walking by places at night that are uninhabited and have bare bulbs hanging in the space — vast structures that are left empty or in disarray, building sites, haunted houses — I am romantic that way.

twi-ny: You refer to several of your previous works as “dance installations,” and Court/Garden is “a spectacle in three acts.” Did you always have this drive to take things to a new level?

Yanira Castro: I never think of it as large. I always start saying it is going to be small. They are always intimate pieces for me. But my mind has a tendency to sprawl and find connections. Especially once I am into my research, it always starts from a small thing that then gets all kinds of information glommed on to it. And I find words difficult. Often I call the pieces something like “dance installation” because I don’t quite understand what I mean by the words or even how these pieces function in relationship to concert dance or site-specific dance. It is neither. So, I give it words for a while to see how that works — to denote that it is not this other thing, but it is always uncomfortable.

Spectacle is super uncomfortable. But at the same time it has really freed up my imagination. I have given myself the space to bring in all these fantastical elements where I don’t usually go. It has touched on some of my personal interests in iconography. I came across the word in my research — a book by Georgia J. Cowart, The Triumph of Pleasure: Louis XIV and the Politics of Spectacle. It aptly describes the royal performances of Louis XIV’s court. But right now everything seems like a spectacle to me. It is kind of like saying the same word one hundred times. . . . It begins to lose its definition. It becomes aural. a texture. So . . . yeah . . . I end up with projects that really challenge me and my collaborators . . . in their largeness of scope. But that isn’t the intention at the start. I am really attempting to answer a question — an intimate one about culture and how and why we are in this space together to witness — and the questions lead down rabbit holes. I like getting lost and making sense of the map.

twi-ny: You also enjoy challenging the audience, to get them involved beyond the basic performer-spectator relationship, and that is true about Court/Garden as well, as the audience will have to move around during the show. Was there a “eureka” moment when you decided to start breaking down those walls?

Yanira Castro: It started because Peculiar Works Project invited me to make a piece for Judson House which was being torn down, and we could do anything we wanted with the space we were allotted because it would not exist come Monday. My collaborator, Kevin Kwan, and I decided to paint a small room five layers of glossy white. Everything in it. And then seal the room with scrim. The audience could see the dance that took place inside this hermetic situation through the scrim. But to see it, they had to crouch or peer in and get close. The dancers were sometimes obscured. I remember watching that audience have to lean in to watch and it was what I wanted, I wanted that they should engage in that way. The image of them leaning over the dance was as important as the dance itself.

It is not that I want to challenge the audience. I want to create a scenario for them and to be in conversation with them and I want them to form the picture, craft their experience. Their presence dynamically changes what is occurring. That is what “live” means for me. It is dynamic because of the people in the room.

twi-ny: What does it take to be a dancer for a canary torsi, especially given all the interactivity with the audience?

Yanira Castro: I think that would be a question for the dancers. I don’t think of “interactivity” when I am thinking about working with someone. I think about spending time with them, that I enjoy their presence and love talking to them. I have often invited people to be in work without having seen them dance or perform. And so it is every bit a discovery when we get into the studio together. And I never know what the choreography is going to look like anyway, or what it may require, until we are in it.

twi-ny: You funded part of Court/Garden through Kickstarter. How has online funding changed the game for you and dance in general?

Yanira Castro: Well, I think like anything . . . it becomes part of the machine after a while. So, it is almost expected that you will do some kind of crowdsource funding to put up a production. It has, in many ways, taken the place of traditional individual giving. You know, most of us don’t have patrons with deep pockets who can come in and save the day, so things like Kickstarter feel more democratic to me. I may not have a patron that can give $5,000, $10,000 . . . but almost anyone can give $1 or $5. And yes, it builds up and it can build a sense of camaraderie around a project, create excitement. It is really only a different way of looking at creating investment in a project . . . and one that I feel more comfortable doing than the traditional yearly benefit. I think in general crowdsource funding has been empowering for the arts, even while it has now become a cog in the machine.

twi-ny: Dare I ask where the name “a canary torsi” came from?

Yanira Castro: It is an anagram of my name. I didn’t see the work as fitting a traditional dance company model, so I couldn’t see myself as Yanira Castro Dance or Yanira Castro + Company any longer. But I also wanted to acknowledge that I didn’t work alone. I wasn’t just . . . Yanira Castro. And so I wanted a name, a name that wouldn’t limit. But names are the worst things . . . especially when you have a lifetime to live with them. And I thought about how I did not pick my birth name and yet I carry it around with me. So, I decided to create a chance structure and that the name that resulted from that . . . I would accept. After several steps involving the computer, the dice and my spouse . . . a canary torsi was the name on the page. I don’t love it. I don’t hate it. It is a name. And it has certain uses that I like — the canary was a popular social dance that began when some folks from Spain saw a dance danced by people from the Canary Islands. It was quickly appropriated and spread through most of Europe for centuries with many variations. And torsi is, of course, multiple torsos (which seems very apropos), but also it means “unfinished.” And I liked that . . . an unfinished social dance.

FIRST SATURDAYS: ¡VIVA BROOKLYN!

Brooklyn Museum

Caecilia Tripp’s “Music for (prepared) Bicycles” rides into Brooklyn Museum in multiple forms for First Saturdays program

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, October 4, free, 5:00 – 11:00
212-864-5400
www.brooklynmuseum.org

After taking September off for the annual Labor Day weekend West Indian American Day Carnival celebration, the Brooklyn Museum’s First Saturday program in October will have a decidedly Latin feel. ¡Viva Brooklyn! will feature live music by Arturo O’Farrill’s Afro Latin Jazz Orchestra and youth orchestra Fat Afro Latin Jazz Cats, La Mecánica Popular, and Los Rakas; the dance performance Bailes de Ida y Vuelta by Flamenco Vivo Carlota Santana; rumba and salsa lessons with Global Rhythms; an art workshop inspired by Mayan textile design; pop-up gallery talks in English and Spanish highlighting works by Latino artists; a screening of William Caballero’s How You Doin’ Boy? Voicemails from Gran’pa, followed by a talk about Puerto Rican American cultural influences; a screening of Caecilia Tripp’s Music for (prepared) Bicycles (after John Cage & Marcel Duchamp) Score Two, along with the participatory project Music for (prepared) Bicycles, in which Tripp and visitors will create a drawing of a musical score from a sonic bicycle; an interactive mural by Don Rmix in collaboration with Brooklyn Street Art; and “Pimp My Piragua,” in which Crossing Brooklyn artist Miguel Luciano will serve shaved ice from his custom-made tricycle. In addition, you can check out such exhibitions as “Revolution! Works from the Black Arts Movement,” “Killer Heels: The Art of the High-Heeled Shoe,” and “Chicago in L.A.: Judy Chicago’s Early Works, 1963–74.”

ATLANTIC ANTIC 2014

atlantic antic

Atlantic Ave. between Hicks St. & Fourth Ave.
Sunday, September 28, free, 12 noon – 6:00 pm
www.atlanticave.org

Brooklyn’s most popular street fair, Atlantic Antic, turns forty this year, and it’s doing it in style with an extensive lineup of special guests and live performances, along with games, family-friendly activities, art exhibitions, book readings, dozens of vendors, and plenty of politicos. There will be live music from the Windsor Terrors, Junior Rivera and Charanga Soleil, the Black Coffee Blues Band with Popa Chubby, the Dysfunctional Family Jazz Band, Dead Leaf Echo, Le Sans Culottes, and headliner Brown Rice Family World Roots Band, a welcome-ceremony dance by the Brooklyn Ballet, and the presentation of the Ambassador Award to Assembly Member Joan L. Millman. And for the twenty-first year, the New York Transit Museum is hosting the Bus Festival on Boerum Pl. between State St. & Atlantic Ave., featuring vintage buses (Betsy, Bus 2969, Bus 3100, Tunnel Wrecker), workshops, free tours, and other fun things, with admission to the museum only one dollar.

WORKS & PROCESS AT 30

WORKS & PROCESS AT 30: ARTISTS AT WORK, ARTISTS IN PROCESS
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
40 Lincoln Center Plaza
Monday – Saturday through October 25, free
Thursday, September 25, “Three Choreographers Celebrate,” free with advance RSVP, 6:00
917-275-6975
www.nypl.org

WORKS & PROCESS
Solomon R. Guggenheim Museum, Peter B. Lewis Theater
1071 Fifth Ave. at 89th St.
October 5 – December 15, $30-$35
212-423-3500
www.guggenheim.org

For three decades, the Guggenheim has been presenting illuminating performances and discussions in its groundbreaking program Works & Process, in which emerging and established dancers, musicians, composers, and choreographers share their creative inspiration with glimpses at upcoming productions. The New York Public Library is honoring the series with “Works & Process at 30: Artists at Work, Artists in Process,” a collection of photographs, costumes, and printed ephemera from past events featuring some of the greatest directors, choreographers, and performers of the last thirty years. On September 25, the library will host “Three Choreographers Celebrate” in the Bruno Walter Auditorium (free with advance RSVP), bringing together a trio of W&P veterans, Karole Armitage, Larry Keigwin, and Pam Tanowitz, to talk about the importance of the program with Dance Theatre of Harlem artistic director Virginia Johnson; the event will also include footage from the library’s archives of nearly five hundred W&P performances. Meanwhile, tickets are now on sale and going fast for the fall 2014 W&P season, which continues October 5 with “The Kennedy Center: Little Dancer with Susan Stroman” (with Stroman, Boyd Gaines, Rebecca Luker, Tiler Peck, Lynn Ahrens, and Stephen Flaherty) and also includes Brian Brooks Moving Company on October 19-20, “Harlem Stage: Makandal” on October 27 (with Carl Hancock Rux, Yosvany Terry, Edouard Duval-Carrié, and Lars Jan), “In Process with Pam Tanowitz and David Lang” on November 2, and “Jerome Robbins: Fancy Free to On the Town” on November 9-10 (with Robert LaFosse, John Rando, Joshua Bergasse, Phyllis Newman, and Jamie Bernstein, moderated by Amanda Vaill).