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Anne Teresa De Keersmaeker’s dances for the Broadway revival swarm and sweep, but Robbins’s choreography was something more central: the libretto.
Alexandria Wailes deftly weaves choreography and American Sign Language in Ntozake Shange’s “For Colored Girls.”
Ephrat Asherie collaborates with her jazz pianist brother to place Ernesto Nazareth’s music in a world of breaking, house, hip-hop and vogue.
In Elizabeth Streb and Anne Bogart’s “Falling & Loving,” dancers and actors share the stage with the Guck Machine, which emits a waterfall of food andother objects.
In Al Blackstone’s show, the songs are what set the characters on their journey, not the steps.
Raja Feather Kelly, who has left his mark on several Off Broadway shows, specializes in what he calls “virtuosic behavior.”
Standard or (worse yet) slight fare gets nominated for best choreography while quality work — “Oklahoma!,”“The Prom” — goes unrecognized. An exception: Camille A. Brown’s dance…
The choreographer and performance artist Ann Liv Young is using her Bushwick apartment — and her daughters and animals — in her version of “Antigone.”
The choreographer John Heginbotham and the director Daniel Fish want the dance to “change the way we experience the show.”
The wife-and-husband team of Sara Mearns and Joshua Bergasse talk about working together on “I Married an Angel” for Encores! Reader, she Lindy Hops.
Gaspar Noé’s “Climax” is the latest movie to push the ecstatic, frightening qualities of dance into horror. A body holds plenty of space for terror.
The choreographer Camille A. Brown deftly uses the tradition of step to add “a heartbeat to the story” of Tarell Alvin McCraney’s musical play, now on Broadway.
A talk with the director and choreographer Casey Nicholaw: “The world has gotten so serious. It’s time to be on a dance floor together.”
Amar Ramasar, Brittany Pollack and Craig Salstein get a chance to stretch on Broadway. With Justin Peck, they talk about the challenges and rewards.
Using intricate choreography and cues, the Angel Shadows — dancers and puppeteers — propel the Angel into the air and operate her heavy wings.
They tried early spring, late spring and Harvey Weinstein. But the Rockettes have yet to create a warm-weather franchise to rival their Christmas show.
The choreographer Mandy Moore worked on Damien Chazelle’s movie musical. Among her jobs: teaching Emma Stone and Ryan Gosling how to dance.
Ms. Pazcoguin, a soloist with the New York City Ballet, plays the elegant Victoria in the current revival of “Cats” on Broadway.
Christopher Wheeldon’s adaptation of this Shakespearean romance, performed by the National Ballet of Canada, is part of the Lincoln Center Festival.
The choreographer Christopher Gattelli’s “No Dames!” number in the film offered Mr. Tatum a showcase and took him out of his comfort zone.
Pamela Tatge, the director of the Center for the Arts at Wesleyan University, is to take over beginning April 18.
“The Seditious Conspiracy Theater Presents: A Monument to the Puerto Rican Political Prisoner Oscar López Rivera” casts the imprisoned man as a victim.
Ms. Walley-Beckett, a “Breaking Bad” writer, applies a similar sensibility to the dance world in a new series for Starz.
Ms. Copeland, of American Ballet Theater, is briefly playing the role of Ivy, a.k.a. Miss Turnstiles, in the hit Jerome Robbins revival at the Lyric Theater.
The museum will showcase the work of Anne Iobst and Lucy Sexton, who brought an intense, highly choreographed whirlwind of unison dancing and brutal slapstick to the East Village.
In “Matthew Bourne’s Swan Lake” at City Center, Mr. Bourne’s reinterpretation of a classic raises the ballet’s inherent sexiness and gives Tchaikovsky’s m…
The film, an “American Masters” episode directed by Ric Burns, features interviews with critics, dancers and directors.
This dance-theater work from Mark Dendy at Joe’s Pub includes a cast of historical and contemporary characters from Astor Place and the surrounding area.
The Center announced it would award the Virginia B. Toulmin Fellowship for Women Choreographers starting this fall.
Mr. Alvarez, who won a Tony for “Billy Elliot,” said ballet prepared him for basic training.
The Alvin Ailey dancers Antonio Douthit-Boyd and Kirven Douthit-Boyd will become co-artistic directors of the Center of Creative Arts in St. Louis, where Antonio trained.