Monday, March 24, 2025
Jenifer Ringer, the celebrated New York City Ballet principal, is back at the School of American Ballet in a new role: teacher and guiding light.
SOURCE: The New York Times Subscription at 05:02AMTuesday, March 11, 2025
Tharp celebrates her 60th anniversary as a dance maker with a program pairing the monumental “Diabelli” (1998) and the new “Slacktide.”
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It was a busy winter: Ashley Bouder bid farewell, Mira Nadon dazzled in “Swan Lake,” Maria Tallchief was honored and Alexei Ratmansky had another winner.
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The Academy Award-nominated actress discovers her inner dancer in “Emilia Pérez” with the help of the choreographer Damien Jalet.
SOURCE: The New York Times Subscription at 05:01AMTuesday, February 25, 2025
Miriam Miller, newly promoted to principal at New York City Ballet, is set to make her debut in “Swan Lake.”
SOURCE: The New York Times Subscription at 05:01AMFriday, February 14, 2025
The performance portion of “Edges of Ailey” at the Whitney Museum of American Art was best when it stepped away from tradition.
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Ashley Bouder, the longtime New York City Ballet principal, is leaving with a final performance in “Firebird.”
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Alexei Ratmansky creates a joyful new “Paquita” for New York City Ballet, giving the dancers a classical frame in which to find new versions of themselves.
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Florentina Holzinger, the daring Austrian choreographer, is back with “Tanz,” a rendering of ballet horror featuring the 83-year-old dancer Beatrice Cordua.
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Highlights so far of the 2025 contemporary dance festival, spread across New York City, are Symara Sarai and Leslie Cuyjet’s outstanding dances.
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Monica Bill Barnes and Robbie Saenz de Viteri ring in the New Year in their physical and introspective “Many Happy Returns.”
SOURCE: The New York Times Subscription at 12:18PMMonday, January 6, 2025
Sara Mearns, the New York City Ballet principal, announced her 10-year struggle on Instagram. She tested out her new hearing aids in “The Nutcracker.”
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“Severance” is finally back for its second season, three New York art museums are set to reopen and ballet goes extreme.
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Les Ballets Trockadero de Monte Carlo opens its season at the Joyce Theater with its vintage, vampiric “Giselle” and a new take on Balanchine.
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The choreographer Tess Dworman inhabits an assortment of people (and an ottoman) in her dance-theater work “Everything Must Go.”
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Once-in-a-generation ballerinas, topical works that transcended politics and a voguing “Cats” were highlights of the year.
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Alvin Ailey American Dance Theater returns for its annual December season with an enigmatic premiere by Jamar Roberts and the revival of “Grace.”
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In “Dear Lord, Make Me Beautiful,” the choreographer Kyle Abraham experiments with expressing his emotions about the current moment.
SOURCE: The New York Times Subscription at 12:19PMIn “No President,” Nature Theater of Oklahoma creates its version of a story ballet, one burpee at a time.
SOURCE: The New York Times Subscription at 05:24AMMonday, December 2, 2024
Brown’s masterful, fervent dance has become an enduring classic. He and his collaborators reflect on its creation.
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This season, two vivacious boys at the School of American Ballet make their princely debuts in New York City Ballet’s production of “The Nutcracker.”
SOURCE: The New York Times Subscription at 05:03AMMonday, November 11, 2024
She was always a goddess of dance — even before her triumph in “Cry.” The Ailey star turned artistic director stretched like there was no tomorrow.
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The Taylor company returns to Lincoln Center with four premieres and a new resident choreographer: Robert Battle, the former director of Alvin Ailey.
SOURCE: The New York Times Subscription at 12:55PMMonday, November 4, 2024
Carolyn Adams, the Paul Taylor dancer turned educator, is being honored at the company’s gala with a new solo by Robert Battle, her former student.
SOURCE: The New York Times Subscription at 11:38AMIn certain circles, the name Ralph — like Merce or Madonna — lights up a room. The choreographer and visual artist is the subject of a major exhibition of his art and performances.
SOURCE: The New York Times Subscription at 05:01AMThursday, October 31, 2024
American Ballet Theater unveils “Crime and Punishment,” an ambitious, but listless new production by Helen Pickett and James Bonas.
SOURCE: The New York Times Subscription at 12:18PMMonday, October 21, 2024
Thirty years ago, Bill T. Jones presented “Still/Here,” and the critic Arlene Croce responded with an explosive essay. Now the work is returning to the Brooklyn Academy.
SOURCE: The New York Times Subscription at 11:30AMThursday, October 17, 2024
American Ballet Theater opened its fall season at Lincoln Center with premieres by Gemma Bond and Kyle Abraham in his most accomplished ballet yet.
SOURCE: The New York Times Subscription at 12:01PMTuesday, October 15, 2024
The fall season wrapped up with an excellent program featuring works by Balanchine and Ratmansky, as well as a celebration of Justin Peck’s 10th year as resident choreographer.
SOURCE: The New York Times Subscription at 01:11PMTwo dancers from the Ailey company perform part of “Night Creature” on the roof of the Whitney Museum, where the choreographer is the subject of a major exhibition.
SOURCE: The New York Times Subscription at 05:00AMThursday, October 10, 2024
New York City Ballet dressed up its fall fashion gala with a program of female choreographers. This was history, even if the results were mixed.
SOURCE: The New York Times Subscription at 11:48AM 
