Cézanne, Modigliani, and Soutine: Parisian Rebels Who Made Art Modern Reunite at Brooklyn Museum
By A.R. HOFFMAN
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This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.
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Hip-hop hit Broadway cement over 30 years ago, but it didn’t make it inside one of its theaters – as entirely its own show – until now. In “Rennie Harris’ Legends of Hip-Hop,” the originators of popping, locking, and electric boogaloo celebrate, with a cadre of younger acolytes, the moves that revolutionized dance. Throughout the 90-minute performance at the New Victory Theater, no Mariah Carey pushes these dancers into the corners. No Madonna rips off their movement and waters it down, calling it vogueing. This is unfiltered hip-hop dancing at its most expansive and proud.
By A.R. HOFFMAN
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By GEORGE WILLIS
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By DAVID JONES
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By JOSEPH CURL
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By HOLLIE McKAY
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By HOLLIE McKAY
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By HOLLIE McKAY
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By HOLLIE McKAY
|Hip-hop hit Broadway cement over 30 years ago, but it didn’t make it inside one of its theaters – as entirely its own show – until now. In “Rennie Harris’ Legends of Hip-Hop,” the originators of popping, locking, and electric boogaloo celebrate, with a cadre of younger acolytes, the moves that revolutionized dance. Throughout the 90-minute performance at the New Victory Theater, no Mariah Carey pushes these dancers into the corners. No Madonna rips off their movement and waters it down, calling it vogueing. This is unfiltered hip-hop dancing at its most expansive and proud.
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