The New York–Israeli choreographer Netta Yerushalmy is ingenious at deconstructing the vaunted tropes of modernism but she can also be dogged to the point of dreariness. Not so with her latest work, Movement, which premiered to little fanfare in 2022, just as we were emerging from our coronavirus cocoons. The choreography is no longer a vessel for an idea that doesn’t sufficiently fill it but the creation of that idea, in real time and space and on very particular bodies. Indeed, “the movements of Movement were smuggled into the rehearsal room,” the program notes, by its strikingly eclectic cast for the choreographic equivalent of novelist Jonathan Lethem’s famous Harper’s essay “The Ecstasy of Influence.” Like Lethem, Yerushalmy has crafted something entirely original, not to mention gorgeous and surprising, by means of pure appropriation. —Apollinaire Scherr