Wednesday, July 12, 2023
The company wraps up its delayed anniversary tour with a selection of vintage dances and premieres in a three-week season at the Joyce Theater.
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Cassandra Trenary, an American Ballet Theater principal dancer, pulls classical dance into the present through the drama of being real.
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American Ballet Theater opened its summer season with Christopher Wheeldon’s new three-act ballet, inspired by a novel and film.
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In Madeline Hollander’s fascinating “Hydro Parade,” 15 dancers stream through the Metropolitan Museum of Art. Your task? To keep up.
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Kids Dance, the performance group of Ballet Tech, returned to the Joyce with a mix of premieres and classics.
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River to River Festival presents an art experiment in which audience members and dance artists, paired randomly, meet for one-on-one performances.
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The tap dancer Ja’Bowen brings his art underground, where kids learn steps, commuters dance along and his energizing performances are bursts of joy.
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A flurry of debuts. The return of Sara Mearns. Performances that lingered after the curtain fell. Here are the highlights from a packed spring season.
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The festival hosts the National Dance Company of Ghana at the Brooklyn Academy. “You’re getting the best of all the dances.”
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With a premiere by Tiffany Tregarthen and David Raymond at the Joyce, Gibney Company builds on its repertoire but doesn’t enhance it.
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After 15 years, New York City Ballet revives “Brandenburg,” the choreographer’s final ballet, with a sparkling new cast.
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The choreographer Miguel Gutierrez presents the New York premiere of “I as another,” a duet with Laila Franklin, at Baryshnikov Arts Center.
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Harrison Ball is retiring. After battling addiction, he is engaged to Zac Posen, serious about acting and grateful for his career.
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The choreographer collaborates with the designer Mimi Gross in “Garden Party,” a whimsical celebration of spring that hints at loss.
SOURCE: The New York Times Subscription at 01:21PMThe Trisha Brown Dance Company branches out beyond its founder’s work with its first commission: Judith Sánchez Ruíz’s “Let’s Talk About Bleeding.”
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The company presented two large-scale works, one inspired by the French protests of 1968, and the other a response to a lost Merce Cunningham work, at NYU Skirball.
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A new generation of choreographers, obsessed with composition and costumes, experiments at Pageant in East Williamsburg, Brooklyn.
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As artistic director, Johnson, a pathbreaking ballerina, helped get the company back on its feet after a hiatus. Now, she’s ready to be an artist again.
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Ananiashvili’s company, the State Ballet of Georgia, presents a program of works by George Balanchine and Yuri Possokhov at the Lehman Center in the Bronx.
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With new books and a podcast taking another look at the legacy of George Balanchine and the culture of ballet, where does a modern ballerina stand?
SOURCE: The New York Times Subscription at 12:54PMAbraham and his company, A.I.M, returned to the Joyce Theater with a program of mixed repertory, including new dances and a Bebe Miller solo.
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The company returned to New York City Center with recent works by Crystal Pite and David Dawson, along with a vintage offering by Kenneth MacMillan.
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In “The Invisible Project,” a premiere at NYU Skirball, the choreographer Keely Garfield’s work as an end-of-life and trauma chaplain informs the dance.
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Tanztheater Wuppertal returns to the Brooklyn Academy of Music for the first time in six years with “Água,” a long, whimsical work from 2001.
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The company wrapped up its season with two weeks of Peter Martins’s “The Sleeping Beauty,” a flurry of debuts and four promotions.
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Signaling the arrival of ballet’s next generation, the soloists Emilie Gerrity, Isabella LaFreniere, Roman Mejia and Mira Nadon move up.
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“Bob Fosse’s Dancin’,” revived by the director Wayne Cilento, is back on Broadway. Its stars? An eclectic cast of dancers who are anything but machines.
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Women’s empowerment is the undercurrent of the winter season at New York City Ballet. Does it have a place in Americana?
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Cullberg, a contemporary Swedish company, makes its Joyce Theater debut with Deborah Hay’s delicate, hypnotic “Horse, the Solos.”
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Kyra Nichols, a former principal, returns to the company for the first time since her 2007 retirement to coach ballets by Balanchine and Robbins.
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New York City Ballet’s resident choreographer expands on “Rodeo” to make an evening-length work set to some of Aaron Copland’s most popular music.
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