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The gala features five new pieces, including one by Jamar Roberts, whose recent work confirms his importance.
Wheeldon’s “Curious Kingdom,” on a Pacific Northwest Ballet program with two premieres, achieves moments of exquisite beauty.
The festival features a film that shows the light and empowerment of vodou, a tradition of danced communication and communion with ancestors and spirits.
This year’s iteration of the Indian dance festival, in two programs, is online; with Surupa Sen, what’s gained is emotional intimacy.
“The Mayor of Harlem,” a streaming Tap Family Reunion production, features period-style dance numbers by an adept cast of hoofers.
Bill T. Jones brings a program of Saul Williams’s work to a New York Live Arts festival of ideas as audiences adjust to the city’s reopening.
To watch LaTasha Barnes dance is to watch historical distance collapse.
The Mark Morris Dance Group livestreamed a performance that featured a new work of substance, set to Brahms waltzes.
Okwui Okpokwasili’s processional is a homage and farewell to Simone Leigh’s giant bronze bust, “Brick House.”
The choreographer’s “When We Fell,” for New York City Ballet, is among the most beautiful dance films of the pandemic.
At Pacific Northwest Ballet, two online premieres: Donald Byrd’s has a Western theme and Alejandro Cerrudo’s undulates.
The choreographer Madeline Hollander’s “Flatwing,” at the Whitney, considers a genetic mutation that silences some male crickets.
He was Miami City Ballet’s resident choreographer before establishing his own company. He later returned to his native Peru to run the National Ballet. He died of Covid-19.
At a tentative moment in the city’s reopening, Caleb Teicher & Co. inaugurated the in-person return of Works & Process at the Guggenheim Museum.
The choreographer Jeremy McQueen’s film “Wild: Act 1” seeks to give voice to young men caught in the criminal justice system.
A dispute between the director of Peak Performances and an Indigenous choreographer hinged on workplace behavior, power and the boundary between art and social justice.
The slate of commissioned works for reduced capacity audiences involves the artists Bill T. Jones, David Byrne and Laurie Anderson.
Unpretentious innocence and detailed choreography fuel Keone and Mari Madrid’s West Coast urban dance riff on “Romeo and Juliet.”
This landmark work, “a whole new form of theater,” originated with a poet, Ntozake Shange, dancing.
To get at the Fosse style, a dance critic breaks down “Who’s Got the Pain?,” the only film number Bob Fosse and Gwen Verdon performed in together.
The Temptations’ dancing was essential to their allure. Sergio Trujillo makes it more intricate, stylistically varied and narratively sophisticated.
In Young Jean Lee’s play, with choreography by Faye Driscoll, dance is a way for characters to repair relationships and communicate with one another.
What does tap mean in musicals these days? It’s often used as a sparkly outfit — a symbol of Broadway’s past, danced by nostalgists and drama nerds.
“Petra,” by the director-choreographer Dean Moss, riffs on a Fassbinder film and sadomasochistic relationships.
Ms. Ellsworth is a performer whose ambivalence about performing is baked into the title of her new work, “The Rehearsal Artist.”
The staging is the star in Matthew Bourne’s pass-the-popcorn adaptation of the movie.
In “Arlington,” a dance segment takes us into the subtext: “the pressure put on a body in confinement.”
The show, a hybrid of physical theater and cinema directed by Lars Jan, at New York Live Arts, offers a musical window on a silent couple.
Mr. Glover is joining the cast of this musical, but it has no role for a star dancer, unlike “Jelly’s Last Jam” or “Bring in ’da Noise, Bring in ’da Funk.”
“Return to Absence” and its companion, “Ebb,” at New York Live Arts, took a silent-movie approach to adapting “Molloy,” “Malone Dies” and “The Unnamable.”
The musical, mostly forgotten since the 1940s, will be choreographed by Camille A. Brown for the Encores! series at City Center.