Thursday, November 27, 2025
At New York City Ballet, two boys from the School of American Ballet get to play a coveted role: Fritz, a terror of a little brother.
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For its season at New York City Center, its first major engagement here in years, the company disappoints with mediocre repertory.
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In “My Town,” Jack Ferver’s one-person take on the Wilder classic with hints of “Wisconsin Death Trip,” movement and storytelling are deftly intertwined.
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Dancers are famous for buckling down and getting through it. But a new openness about mental health has companies and schools focusing on their well-being, both physical and emotional.
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As part of its Lincoln Center season, the company presented works by Lauren Lovette, Robert Battle and Hope Boykin.
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For her new work, opening at BAM Fisher, Juliana F. May looks to early influences to create her version of a postmodern musical.
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This fall the offerings at American Ballet Theater, now in its 85th year, included a tepid premiere and touching debuts in Agnes de Mille’s “Rodeo.”
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American Ballet Theater’s first Black female principal dancer has given her farewell performance. But she’s not done with this art form yet.
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The choreographer Wally Cardona revisits a David Gordon duet, “Times Four,” performed in the loft in which it was made and remade for today.
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The programs were all over the map, but the dancers held the season together. Six were promoted, including India Bradley, the first Black female to become a soloist.
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American Ballet Theater opens with an all-Tharp program, including “Push Comes to Shove,” the first work she created for the company and its newly defected star, in 1976.
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The esteemed company presents a full-length contemporary work by Hofesh Shechter at New York City Center. Forget about pointe shoes. This is Chanel in socks.
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New York City Ballet presents a new work of uncanny beauty, with costumes by Iris van Herpen, inspired by nature and technology.
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The next step, in the case of “Ballade,” coached by its original ballerina, Merrill Ashley, is to keep it in the repertory. Especially with Mira Nadon in the lead.
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The wild grandeur of a choreographer just starting out is a breath of fresh air. It’s no secret. Blue just picked up an Emmy and an MTV Video Music Award.
SOURCE: The New York Times Subscription at 12:13PMThe wild grandeur of a choreographer just starting out is a breath of fresh air. It’s no secret. Blue just picked up an Emmy and a Video Music Award.
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The choreographer takes over the Park Avenue Armory with “Monkey Off My Back or the Cat’s Meow,” a spectacle that honors the power of being together.
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Dolly Parton in Vegas, a shrine to David Bowie, a new standup special from Kumail Nanjiani and other picks from our critics and writers.
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The choreographer Kim Brandt brings “Wayward,” an expansive new dance, to Rockaway (the beach and the town) as this part of Beach Sessions.
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It can feel overwhelming to watch a dance. But if you follow the hands, they can unlock the mysteries of a moving body.
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The New York City Ballet principal brings together dancers from four companies to perform works by the esteemed choreographer in a festival at the Joyce Theater.
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The dance team of the New York Liberty, in its 20th year, makes space for dancers who are 40 and over. Their message? Dance! Live a full life.
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The choreographer’s latest works, at the Joyce Theater, explore the music of James P. Johnson and John Luther Adams.
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In a tremendous performance, this American Ballet Theater principal danced her final “Swan Lake” to end her glittering 29-year career.
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After 29 years, the American Ballet Theater principal bids farewell with “Swan Lake.” It’s demanding. But she’s got this.
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Christopher Wheeldon’s lengthy “The Winter’s Tale,” a ballet based on the Shakespeare play, is filled with bad behavior but also love and forgiveness.
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The Russian ballerina Olga Smirnova lit up the start of the company’s six-week summer season. She wasn’t alone.
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Garcia, a former principal at New York City Ballet and San Francisco Ballet, takes over as Miami City celebrates its 40th anniversary.
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Our critics picked 10 performances that have offered a robust alternative to the here and now with a tonic of beauty, rage and wisdom.
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Lexee Smith, who works closely with Addison Rae, is an outlier: a commercial dance artist with an experimental bent.
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In “The Life of Chuck,” the actor known for spontaneous eruptions of joyful movement, lets loose with a feast of footwork.
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