Thursday, July 4, 2024
After a tremendous “Swan Lake” performance, Chloe Misseldine was promoted onstage at the Metropolitan Opera House. The audience went nuts.
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The rise of the soloist Chloe Misseldine is part of the artistic director Susan Jaffe’s master plan: Start them young and give them time to grow.
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Thursday, June 13, 2024
New York City Ballet wrapped up its 75th anniversary celebration at Lincoln Center this spring with a look to the future. But it didn’t always speak to it.
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Leading off the summer season at Little Island in Manhattan, the choreographer presents “How Long Blues,” with T Bone Burnett and David Mansfield.
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Mira Nadon, the rising New York City Ballet principal, is coming off her best season yet. And it’s only the beginning.
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As Ballet Tech, a tuition-free public school, prepares for its Joyce season, Dionne Figgins teaches the students to see the big picture of their art form.
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A couple with deep ties to the popular Brooklyn festival and its founder and longtime artistic director, Chuck Davis, recall when their wedding was part of the show.
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Tamara Rojo, the company’s new artistic director, has a vision of ballet as for the people — all the people — with dances that reflect our world.
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For its Joyce season, the company unveils “Juke,” a spiky premiere by Jamar Roberts, along with dances by David Parsons and Penny Saunders.
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Eduardo Vilaro celebrates his 15th year as artistic director of Ballet Hispánico with a premiere exploring the life of the Afro-Hispanic artist.
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The spring season at New York City Ballet opened with an all-Balanchine program and a vintage miniature from 1975: “Errante,” staged for a new generation.
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Once a young bunhead, the acclaimed musical artist is taking the stage with the Martha Graham Dance Company. For her, this is holy grail territory.
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The company performed its first New York City Center season under the direction of Robert Garland in a program including George Balanchine’s “Pas de Dix.”
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In “Nail Biter,” a New York City premiere, this exacting choreographer explores her ballet roots and how to be in her body now.
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The choreographer Dianne McIntyre presents “In the Same Tongue,” a dance she calls “an artistic history of myself,” at the new Apollo Stages at the Victoria Theater.
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Under the artistic leadership of Emily Molnar, Nederlands Dans Theater returned to New York City Center with a less than stellar triple bill.
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The Trisha Brown Dance Company returned to the Joyce Theater with an enthralling premiere by the French choreographer Noé Soulier.
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Mark Morris’s “The Look of Love” at the Brooklyn Academy of Music is uneven, but you can’t fight its swing.
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Hubbard Street Dance Chicago presents the first of two programs at the Joyce Theater, including a sparkling New York premiere by the hip-hop choreographer Rennie Harris.
SOURCE: The New York Times Subscription at 12:02PMJustin Peck, who directs and choreographs a narrative dance musical to Sufjan Stevens’s concept album “Illinois,” resorts to his usual standby: community.
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New works, by Alexei Ratmansky and Tiler Peck, and revivals brought solace and sadness, beauty and humor — and full-out, thrilling dancing this winter season.
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Robert Garland, Dance Theater’s new artistic director and longtime resident choreographer, presides over his first season at New York City Center.
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The choreographer Anne Teresa De Keersmaeker teams up with the pianist Pavel Kolesnikov for a new production of the Bach masterpiece at N.Y.U. Skirball.
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The choreographer’s contemplative “Deep River,” performed by Lines Ballet at Lincoln Center’s Rose Theater, swims along, brimming with hope and love.
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In “Solitude,” a stellar, haunting work that had its premiere on Thursday, New York City Ballet’s artist in residence brings a photograph to life.
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The nonbinary dancers Ashton Edwards and Taylor Stanley made history in their magnetic performance of Justin Peck’s “The Times Are Racing” at New York City Ballet.
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For her latest program at the Joyce Theater, the one-of-a-kind choreographer showcases two new dances, along with a revival of “Ocean’s Motion.”
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The current season of “The Real Housewives of Beverly Hills” meets Merce Cunningham in an incongruous mash-up of reality TV and modern dance.
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Peck’s choreographic debut for the company, the lively “Concerto for Two Pianos,” shares the spotlight with Alexei Ratmansky’s mysterious, wonderful “Odesa.”
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Chita Rivera saw herself as a dancer, and that’s fitting: Her early ballet training was her secret weapon — and it never left her body.
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