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Washington Ballet’s Sona Kharatian creates an indelible, sophisticated character in Balanchine’s “Slaughter on Tenth Avenue.”
The French Algerian choreographer takes on toxic masculinity and gender cliches in “Boys Don’t Cry,” coming to Dance Place on Feb. 29 and March 1.
At the Kennedy Center, Hee Seo shines in American Ballet Theatre’s production.
“Anything to avoid the thought of the 3,000 people,” says one dancer, explaining why superstitions persist backstage.
Jamar Roberts’s “Ode” somehow manages to show the depth of loss to gun violence, as well as communal unity.
Our dance critic reviews the pop stars’ dazzling halftime performance.
Rudolf Nureyev’s opulent and deeply moving production dazzles at the Kennedy Center.
Mixed bill includes Ratmansky’s meditation on Soviet society, “Piano Concerto #1,” the finale of his Shostakovich Trilogy.
Matthew Bourne’s Windsor-inspired take on the classic ballet returns, with a snarling corgi, cellphones and all the thunderous, shirtless male swans of his 1995 original.
Works by Mark Morris, Pam Tanowitz, Monica Bill Barnes and more.
Monica Bill Barnes & Company performance is part dance performance, part vaudeville act.
The company performs new works by Jessica Lang, Annabelle Lopez Ochoa and John Heginbotham at Harman Hall.
How teenagers Kidathegreat, Kaycee Rice, Taylor Hatala and others are changing how we see and think about dance in the digital age.
The best choice? A box of scarves. And no rules.
Viktoria Tereshkina dazzles in the three-hour ballet, yet its plot doesn’t merit such a long exploration.
Compagnie Centre National de Danse Contemporaine performs “Beach Birds” and “BIPED” at the Kennedy Center.
Ryan Heffington, who created the moves in “Chandelier” and the “Transparent” musical finale, wants to shake your world. And you.
Powerfully sung and flashy, the touring version of the 2016 Broadway revival is at the Kennedy Center through Oct. 6.
Michael Keegan-Dolan and Matthew Bourne knock the classical ballet sideways.
The ‘GMA’ host’s remarks last week were just the latest in a string in the bullying of boys who dance.
“That’s the beauty of ASL — there are so many ways to represent words in the hands and the face.”
Hee Seo and Cory Stearns lead American Ballet Theatre’s three-night series.
Under the rebranding efforts of former Washington Ballet head Septime Webre, subscriptions spike and shows sell out.
What it’s like to go from jobless dancer to starring with American Ballet Theatre.
As the show about New York’s trans ballroom culture enters Season 2, here’s what the emphasis on self-presentation and voguing means.
The surprisingly agile instrument is the focus of Pam Tanowitz’s charming “Gustave Le Gray No. 1,” for Miami City Ballet and Dance Theatre of Harlem.
Dance Theatre of Harlem opened this series with works by female choreographers and musicians.
A dance critic on the pleasures of watching the elegant tennis star, who belongs equally to the realm of aesthetics as to sports.
Agile, easygoing moves are the hallmark of the Chicago troupe’s dance-theater work at the Kennedy Center.
“White Crow” director Ralph Fiennes says the dancer’s story resonates with his own artistic quest.