337 stories by "Gia Kourlas"
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.
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."
