Close Login Box
Performers in such dance-centric shows as “The Lion King,” “Chicago” and “Hamilton” are flexing an inner strength while they relearn the steps they haven’t done in 18 months.
Paul Taylor’s “Company B,” Akram Khan in his D.C. debut and new dance films fill stages and screens.
By giving large sums to some arts groups you may not have heard of, the philanthropist links culture and social progress.
“In leadership, that door was closed”: Black dancers have long faced racism, but recent front-office hires in previously White-led groups show progress. Will it last?
In these films, dance feels more dangerous, and the open sky and open energy bring us even closer to the dancers.
Zoom technique classes, rehearsing with masks and then, at last, “Back to work!” for a performance at Kaatsbaan in New York
Michael Pastreich’s exit and the season cancellation arrive on the heels of covid-19 cases after the ballet’s June gala.
In the absence of live performance, the competition show offers insights into the art — especially its human side.
The fallout is a lesson for other arts groups. They must build trust to reopen.
Kent’s announcement comes in the wake of the ballet’s in-person gala after which multiple attendees were diagnosed with the virus.
The joy of social dancing is now tempered by the fear of contagion.
The holiday staple alone can help keep a company afloat all year long.
To survive this pandemic and beyond, dance, theater and opera need to get online fast, according to the new streaming platform for the arts.
Krumper’s in-your-face stomping forges an unlikely connection with the LAPD.
“It was exhausting,” the Russian ballerina recalls of her overhaul of “La Bayadere” for ABT in 1980.
In southern India, a commune devoted to Odissi dance keeps a 2,000-year-old art alive despite the pandemic.
A new documentary explores the savvy showman behind the art form’s most famous choreographer
“The dancer’s fate is in the hands of the conductor,” one ballerina says of the hidden heroes of the art form.
How the band Thao and the Get Down Stay Down created “Phenom,” helping us get down while staying home.
These digital outlets offer the joys of organized, musical humanity.
The dancemaker retools himself as a filmmaker as his dancers rehearse in their hallways, making entrances and exits through bathroom doors.
The magical properties of a ramen spoon, a tennis ball and a yoga mat.
In “EVE Project,” the empowerment theme would have been better served by focusing on choreographer’s very best works.
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.