350 stories by "GIA KOURLAS"
After a tremendous "Swan Lake" performance, Chloe Misseldine was promoted onstage at the Metropolitan Opera House. The audience went nuts.
The rise of the soloist Chloe Misseldine is part of the artistic director Susan Jaffe's master plan: Start them young and give them time to grow.
New York City Ballet wrapped up its 75th anniversary celebration at Lincoln Center this spring with a look to the future. But it didn't always speak to it.
Leading off the summer season at Little Island in Manhattan, the choreographer presents "How Long Blues," with T Bone Burnett and David Mansfield.
Mira Nadon, the rising New York City Ballet principal, is coming off her best season yet. And it's only the beginning.
As Ballet Tech, a tuition-free public school, prepares for its Joyce season, Dionne Figgins teaches the students to see the big picture of their art form.
A couple with deep ties to the popular Brooklyn festival and its founder and longtime artistic director, Chuck Davis, recall when their wedding was part of the show.
Tamara Rojo, the company's new artistic director, has a vision of ballet as for the people " all the people " with dances that reflect our world.
For its Joyce season, the company unveils "Juke," a spiky premiere by Jamar Roberts, along with dances by David Parsons and Penny Saunders.
Eduardo Vilaro celebrates his 15th year as artistic director of Ballet Hispánico with a premiere exploring the life of the Afro-Hispanic artist.
The spring season at New York City Ballet opened with an all-Balanchine program and a vintage miniature from 1975: "Errante," staged for a new generation.
Once a young bunhead, the acclaimed musical artist is taking the stage with the Martha Graham Dance Company. For her, this is holy grail territory.
The company performed its first New York City Center season under the direction of Robert Garland in a program including George Balanchine's "Pas de Dix."
In "Nail Biter," a New York City premiere, this exacting choreographer explores her ballet roots and how to be in her body now.
The choreographer Dianne McIntyre presents "In the Same Tongue," a dance she calls "an artistic history of myself," at the new Apollo Stages at the Victoria Theater.
Under the artistic leadership of Emily Molnar, Nederlands Dans Theater returned to New York City Center with a less than stellar triple bill.
The Trisha Brown Dance Company returned to the Joyce Theater with an enthralling premiere by the French choreographer Noé Soulier.
Mark Morris's "The Look of Love" at the Brooklyn Academy of Music is uneven, but you can't fight its swing.
Hubbard Street Dance Chicago presents the first of two programs at the Joyce Theater, including a sparkling New York premiere by the hip-hop choreographer Rennie Harris.
Justin Peck, who directs and choreographs a narrative dance musical to Sufjan Stevens's concept album "Illinois," resorts to his usual standby: community.
New works, by Alexei Ratmansky and Tiler Peck, and revivals brought solace and sadness, beauty and humor " and full-out, thrilling dancing this winter season.
Robert Garland, Dance Theater's new artistic director and longtime resident choreographer, presides over his first season at New York City Center.
The choreographer Anne Teresa De Keersmaeker teams up with the pianist Pavel Kolesnikov for a new production of the Bach masterpiece at N.Y.U. Skirball.
The choreographer's contemplative "Deep River," performed by Lines Ballet at Lincoln Center's Rose Theater, swims along, brimming with hope and love.
In "Solitude," a stellar, haunting work that had its premiere on Thursday, New York City Ballet's artist in residence brings a photograph to life.
