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Alexei Ratmansky’s “Of Love and Rage,” a New York premiere for American Ballet Theater, tells its story through fluent dancing bodies.
Alvin Ailey American Dance Theater returns to Lincoln Center with an anniversary and a premiere by its resident choreographer, Jamar Roberts.
American Ballet Theater opens its summer season at the Metropolitan Opera House with a triple cast, comic production. Where will it go next?
English National Ballet brings Akram Khan’s “Giselle” to the Brooklyn Academy of Music, a production that prizes style over substance.
What is the role of choreography on Broadway? Two musicals, “MJ” and “A Strange Loop,” shed light on the dancing body.
The company’s spring season, a double whammy of Covid and injury, ended with the retirement of the principal Amar Ramasar.
The choreographer Donna Uchizono presents “Wings of Iron,” a subtle, virtuosic exploration of the art of perseverance.
The choreographer Abby Zbikowski brings her raw, genre-bending “Radioactive Practice” to New York Live Arts after a two-year delay.
The choreographer Silas Farley and the composer David K. Israel team up for “Architects of Time,” a premiere for the Stravinsky Festival.
The best part? It’s not cosmetic. New York premieres by Madeline Hollander and Janie Taylor pair perfectly with a Bella Lewitzky revival.
Live audiences return for a new platform at Danspace Project featuring Mayfield Brooks, Rashaun Mitchell + Silas Riener, Iele Paloumpis and Ogemdi Ude.
The Japanese dance artist, joined by four collaborators, brings her evolving “Duet Project: Distance Is Malleable” to N.Y.U. Skirball.
Ashwini Ramaswamy, whose specialty is Indian classical dance, works with two dancers from other traditions in “Let the Crows Come.”
Martha Graham Dance Company brings two premieres and a classic to the City Center Dance Festival. The best new work? A soulful score by Jason Moran.
The choreographer Alice Ripoll and 10 dancers from Rio de Janeiro combine youthful abandon with an exploration of social injustice in “Cria” at BAM Fisher.
The incandescent “L’Allegro, il Penseroso ed il Moderato” returns to Brooklyn, leaving you as breathless as ever.
The choreographer Nai-Ni Chen died in December. Now her company takes its next steps, beginning with a season at New York Live Arts.
In “A Pandemic Notebook,” the choreographer Karole Armitage presents her final program of new works. And, with Jock Soto, she returns to the stage.
Lauren Lovette, a former principal with New York City Ballet, has been named the resident choreographer of the Paul Taylor Dance Company.
Tiler Peck, a principal dancer at New York City Ballet, directs her own evening as part of City Center’s inaugural Artists at the Center series.
The choreographer and dancer suffered a stroke in April. But he’s still moving, and that’s what matters.
The season saw more farewells, from principals Teresa Reichlen and Gonzalo Garcia, along with a rush of talent from the recently promoted.
L-E-V, led by Sharon Eyal and Gai Behar, returns to the Joyce Theater with an evening-length work.
After 22 years, Teresa Reichlen, a “low-key” Hitchcock blonde, steps into her next chapter: motherhood and running a gallery.
Miami City Ballet’s production of Alexei Ratmansky’s enthralling “Swan Lake” brings a beloved work into crisp, clean and musical focus.
A new work by the Ailey veteran Jamar Roberts shared a program with revivals by Pam Tanowitz and Kyle Abraham.
For this choreographer, director and pioneer of postmodern dance, life was art and art was life.
Justin Peck’s “Partita,” set to Caroline Shaw’s Pulitzer-Prize winning composition, opened New York City Ballet’s winter season at Lincoln Center.
Some dancers recoiled at the prospect of volunteering their services at this year’s Super Bowl halftime show: “You can’t make a living off of exposure.”
A crew of corps de ballet members, six women and one man, head into the delayed winter season with a new rank: soloist.
The Northern Irish choreographer Oona Doherty looks at despair through an ethereal lens at the Irish Arts Center.