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The article reviews the dance performance "Beasts and Plots," by Gwen Welliver and other dancers, performed at the New York Live Arts in New York.

The article reviews a dance performance by Marie Cool and Fabio Balducci at the show "Performa 07," at various locations in New York City.

The article reviews a dance performance by the Wally Cardona Quartet at the Dance Theater Workshop in New York City.

If you had $10,000 to burn, which choreographer would you choose to support? This is the premise of ''The A.W.A.R.D. Show!,'' though the title doesn't refer to the cash prize but is instead a rather torturous acronym: Artists With Audiences Responding to Dance. I'm not sure I know what that means, but it sounds ominous. Over three nights at the Joyce SoHo, 12 choreographers vie for audience votes, which are cast on little paper ballots; on the fourth night, the three finalists' works are performed again: the winner gets $10,000 and the runners-up $1,000 each. The other nine contestants, and their collaborators, walk away empty-handed. (It's an ugly downside to this contest, especially given that dancers and choreographers are rarely adequately compensated for their labor; even $10,000 quickly begins to seem like a small number when you do a realistic accounting of the hours and costs associated with making a piece.) [ABSTRACT FROM AUTHOR]

To attend an Andrea Marcovicci cabaret show is to participate in a communal rite in which it is tacitly understood -- at least during the duration of the performance -- that nothing today can match the magic and romance of old Hollywood and Broadway. An audience of a certain age agrees to gorge retrospectively on the illusions of youth from an era long before the proliferation of viral gossip and reality television. As the ceremonial priestess, Ms. Marcovicci plays a grand, smiling Hollywood hostess -- a Loretta Young-like figure -- throwing open doors to a rose-colored mythology. Her new show, ''Skylark: Marcovicci Sings Mercer,'' at the Oak Room of the Algonquin Hotel, a tribute to the songwriter Johnny Mercer, who would have turned 100 on Nov. 18 (Ms. Marcovicci turned 61 the same day), should perpetuate her reign as the queen of high-class cabaret nostalgia. At the opening-night show last week, Ms. Marcovicci, who is celebrating her 23rd year at the Oak Room, once again worked her wiles as a show-business medium channeling Olympian spirits. Mercer may have had a drinking problem -- when in his cups, she said, he once told Irving Berlin that he ''couldn't write his way out of a paper bag'' -- but it was a minor quirk in her otherwise hagiographic account of his life. [ABSTRACT FROM PUBLISHER]

Netta Yerushalmy grew up in Israel. Lee Sher and Saar Harari were born there. All three create small, charged spaces on the stage of the Ailey Citigroup Theater in ''Out of Israel,'' part of the 92nd Street Y Harkness Dance Festival, first performed there on Thursday night. But they are very different worlds. Ms. Yerushalmy's ''Bilocale -- Come Closer Please,'' performed with Toni Melaas, opens strikingly. Ms. Yerushalmy paints Ms. Melaas's back with red strokes as Ms. Melaas sits on the floor tossing a lipstick case in her hands. Then Ms. Yerushalmy pushes Ms. Melaas down onto a piece of paper to produce stark, calligraphic images, which she then hangs from a rope across the front. [ABSTRACT FROM PUBLISHER]

Reviews the dance "Funny Papers," performed by Orion Duckstein and James Samson in New York City.

Reviews Keely Garfield's Sinister Slapstick's dance production `Paper Cuts' in New York City.