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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.
Michael Pastreich, 52, has led the Florida Orchestra for past 11 years.
“A lot of times, I’m just someone for the choreographer to talk to,” says dance dramaturge Clare Croft.
Fired by Peter Martins in 1993, the former prima ballerina and Balanchine muse is now coaching dancers in “Diamonds.”
Mariinsky Ballet's “Le Corsaire” is at the Kennedy Center through Sunday.
Works by McIntyre, Stiefel and Genshaft end Washington Ballet’s season on a high note.
New FX show explores the relationship between Bob Fosse and Gwen Verdon.
Jonathan Stafford and Wendy Whelan took the rare step of addressing the audience before a program of Balanchine, Robbins and Reisen.
First part of “Analogy Trilogy” at the Kennedy Center uses innovative storytelling to depict a Jewish nurse’s heroism.
Legal action against the Balanchine Trust puts a spotlight on the fragility of choreography.
New York City Ballet and Nederlans Dans Theater were among the companies illuminating the best in us.
In Kennedy Center performance, Brazilian dance company evokes the mangroves and creatures of the Capibaribe River.
Three dancers are out, but claims of sexual degradation and a toxic environment must trigger a broader reckoning.
Father dancing for his sick child is the opposite of embarrassing; it’s beautiful.
Fill your dance card at no charge at the Hirshhorn. Plus, a formal show that won’t break the bank.
The common man and common woman got their due in the New York City Ballet’s tribute program performed at the Kennedy Center.
Peter Martins faces a new DWI charge as well as misconduct allegations.
The unspecified allegation does not involve “the ABT community,” board chair says.
Corns, sickness, kids having accidents. But the real killer is the fake snow.
Peter Martins, heir to Balanchine, denies claims.
Great moments onstage from Julie Kent, Tiler Peck, Carmen de Lavallade and others.
The film adaptation is beautifully danced and well-designed, but the storytelling stumbles.
Costume designer Judith Hansen soothes artist nerves with silk and sequins.