337 stories by "Gia Kourlas"
"There's a time for everything," said Farrell, who has returned to New York City Ballet to teach a new and eager generation of dancers.
The choreographer Reggie Wilson premieres his latest, "The Reclamation," a stark, formal dance for seven, at NYU Skirball.
Two of the art form's best join forces in a program curated by Mearns at City Center that features a new work by Roberts, "Dance Is a Mother."
Tharp celebrates her 60th anniversary as a dance maker with a program pairing the monumental "Diabelli" (1998) and the new "Slacktide."
It was a busy winter: Ashley Bouder bid farewell, Mira Nadon dazzled in "Swan Lake," Maria Tallchief was honored and Alexei Ratmansky had another winner.
The Academy Award-nominated actress discovers her inner dancer in "Emilia Pérez" with the help of the choreographer Damien Jalet.
Miriam Miller, newly promoted to principal at New York City Ballet, is set to make her debut in "Swan Lake."
The performance portion of "Edges of Ailey" at the Whitney Museum of American Art was best when it stepped away from tradition.
Ashley Bouder, the longtime New York City Ballet principal, is leaving with a final performance in "Firebird."
Alexei Ratmansky creates a joyful new "Paquita" for New York City Ballet, giving the dancers a classical frame in which to find new versions of themselves.
Florentina Holzinger, the daring Austrian choreographer, is back with "Tanz," a rendering of ballet horror featuring the 83-year-old dancer Beatrice Cordua.
Highlights so far of the 2025 contemporary dance festival, spread across New York City, are Symara Sarai and Leslie Cuyjet's outstanding dances.
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.
