350 stories by "Gia Kourlas"
With new books and a podcast taking another look at the legacy of George Balanchine and the culture of ballet, where does a modern ballerina stand?
Abraham and his company, A.I.M, returned to the Joyce Theater with a program of mixed repertory, including new dances and a Bebe Miller solo.
The company returned to New York City Center with recent works by Crystal Pite and David Dawson, along with a vintage offering by Kenneth MacMillan.
In "The Invisible Project," a premiere at NYU Skirball, the choreographer Keely Garfield's work as an end-of-life and trauma chaplain informs the dance.
Tanztheater Wuppertal returns to the Brooklyn Academy of Music for the first time in six years with "Ãgua," a long, whimsical work from 2001.
The company wrapped up its season with two weeks of Peter Martins's "The Sleeping Beauty," a flurry of debuts and four promotions.
Signaling the arrival of ballet's next generation, the soloists Emilie Gerrity, Isabella LaFreniere, Roman Mejia and Mira Nadon move up.
Women's empowerment is the undercurrent of the winter season at New York City Ballet. Does it have a place in Americana?
Cullberg, a contemporary Swedish company, makes its Joyce Theater debut with Deborah Hay's delicate, hypnotic "Horse, the Solos."
Kyra Nichols, a former principal, returns to the company for the first time since her 2007 retirement to coach ballets by Balanchine and Robbins.
New York City Ballet's resident choreographer expands on "Rodeo" to make an evening-length work set to some of Aaron Copland's most popular music.
Ronald K. Brown/Evidence returns to the Joyce Theater with two hits, "Open Door" and "Grace," and a New York premiere with music by Jason Moran.
Septime Webre's rendition of the tragic tale for Hong Kong Ballet this weekend at New York City Center had a striking look, but its dancing lacked vulnerability.
In "Curriculum II," dancers spin like planets as they grapple with the mind, the body and technology.
When the choreographer joins the company as artist in residence, the winners will be the dancers. And ballet.
In "George Balanchine's The Nutcracker," performed by City Ballet and young students from its School of American Ballet, ballet comes full circle.
At MoMA, the choreographer and artist Yve Laris Cohen's installation, inspired by a fire at Jacob's Pillow, looks at the fragility of space, art and the body.
In "Remains Persist," the choreographer Moriah Evans oversees a four-hour experiment that proposes a new way of looking at dance.
Stephen Boss, known as tWitch, who took his own life, didn't just move to music. He was music.
In an uneven program, the tap dancer and choreographer presents three new works in Manhattan, including a dance for former cast members of "Stomp."
Jenna Ortega's dance for her Addams Family character is a viral sensation, but why? It is disarming and defiant: the dance of a nonconformist.
Jenna Ortega's dance for her Addams Family character is a viral sensation, but why? It is disarming and defiant: the dance of a nonconformist.
The Israeli choreographer Emanuel Gat presents "LOVETRAIN2020," a work set to hits by the British duo, for his company's Brooklyn Academy of Music debut.
The veteran choreographer Sally Silvers celebrates her 40th anniversary season with "Pandora's New Cake Stain," a version of her first evening-length work.
The "Lion King" choreographer brings his company to the Joyce Theater in programs that feature his work and dances by the talented Norwood Pennewell.
