350 stories by "GIA KOURLAS"
Monica Bill Barnes and Robbie Saenz de Viteri ring in the New Year in their physical and introspective "Many Happy Returns."
Sara Mearns, the New York City Ballet principal, announced her 10-year struggle on Instagram. She tested out her new hearing aids in "The Nutcracker."
Les Ballets Trockadero de Monte Carlo opens its season at the Joyce Theater with its vintage, vampiric "Giselle" and a new take on Balanchine.
The choreographer Tess Dworman inhabits an assortment of people (and an ottoman) in her dance-theater work "Everything Must Go."
Alvin Ailey American Dance Theater returns for its annual December season with an enigmatic premiere by Jamar Roberts and the revival of "Grace."
In "Dear Lord, Make Me Beautiful," the choreographer Kyle Abraham experiments with expressing his emotions about the current moment.
In "No President," Nature Theater of Oklahoma creates its version of a story ballet, one burpee at a time.
Brown's masterful, fervent dance has become an enduring classic. He and his collaborators reflect on its creation.
She was always a goddess of dance " even before her triumph in "Cry." The Ailey star turned artistic director stretched like there was no tomorrow.
The Taylor company returns to Lincoln Center with four premieres and a new resident choreographer: Robert Battle, the former director of Alvin Ailey.
Carolyn Adams, the Paul Taylor dancer turned educator, is being honored at the company's gala with a new solo by Robert Battle, her former student.
In certain circles, the name Ralph " like Merce or Madonna " lights up a room. The choreographer and visual artist is the subject of a major exhibition of his art and performances.
American Ballet Theater unveils "Crime and Punishment," an ambitious, but listless new production by Helen Pickett and James Bonas.
Thirty years ago, Bill T. Jones presented "Still/Here," and the critic Arlene Croce responded with an explosive essay. Now the work is returning to the Brooklyn Academy.
American Ballet Theater opened its fall season at Lincoln Center with premieres by Gemma Bond and Kyle Abraham in his most accomplished ballet yet.
The fall season wrapped up with an excellent program featuring works by Balanchine and Ratmansky, as well as a celebration of Justin Peck's 10th year as resident choreographer.
New York City Ballet dressed up its fall fashion gala with a program of female choreographers. This was history, even if the results were mixed.
Olivia Bell, 20, a radiant member of New York City Ballet, reprises the role she knocked out of the park as a student: "I want to do it right."
The company brought three New York premieres to the Joyce Theater.
New York City Ballet opened its fall season with classics by George Balanchine and Jerome Robbins, along with a company premiere by Lar Lubovitch.
The 10-day festival at City Center opened with a program of works by Alexei Ratmansky, Tiler Peck and Andrea Miller.
In "Edges of Ailey," a new exhibition at the Whitney Museum of American Art, the choreographer takes center stage. It's another revelation.
Breaking, the dance form created more than 50 years ago in the Bronx, has made its Olympic debut. It's not a sport, but does that matter?
At the Palais Garnier, ballet met hip-hop and beyond in a glittering Cultural Olympiad presentation of Saïdo Lehlouh's ever-evolving "Apaches."
A program of arts events shown in conjunction with the 2024 Olympic and Paralympic Games looks at the relationship between art and sport.
