249 stories by "Roslyn Sulcas"
As Waltz's Berlin troupe commemorates its anniversary, its founder looks back on the lessons of those years, and forward to what comes next.
The former American Ballet Theater star now leads the Australian Ballet. "When I am faced with difficulties, I lean into them," he said.
Tanztheater Wuppertal unveiled its first season under Boris Charmatz, as well as plans for a new, multipurpose center.
The British actress is reprising her role as the Jewish physician at the center of an ethical drama. "It's like a tailored suit," the director Robert Icke said.
Wayne McGregor's new ballet, "Untitled, 2023," gives equal weight to Carmen Herrera's visual design and Anna Thorvaldsdottir's music.
"The Motive and the Cue," a new play in London, imagines fraught behind-the-scenes maneuvering by John Gielgud, Richard Burton and Elizabeth Taylor during rehearsals for a classic Broadway p…
As in ballet, the coronation provided spectacle and beauty tempered by discipline and focus.
His exuberant "Brandenburg," which returns to City Ballet this month, was made near the end of his life, when he was physically and emotionally frail.
Wheeldon is back at New York City Ballet, where he honed his choreographic skills, making a non-narrative work set to Schoenberg.
The choreographer is trying his hand at filmmaking with an experiment that merges drama, dance and music.
In Gregory Maqoma's "Cion," performed by the Vuyani Dance Theater at the Joyce, the performers offer images of collective lamentation, prayer and hope.
Bobbi Jene Smith and Or Schraiber seem to have had a thousand ideas for "Pit." All of them appear to have been included.
In "Broken Chord," the choreographer Gregory Maqoma and the composer Thuthuka Sibisi consider the journey of a South African choir that traveled to England in the 19th century.
A group of eclectic performers will gather to perform new and old dances. Adji Cissoko, a member of Alonzo King's Lines Ballet, will be the artist in residence.
Mehdi Kerkouche, who comes from the commercial dance world, has been tapped to run an important public institution, the National Choreographic Center in Créteil.
Her new work for the Royal Ballet, "Secret Things," is both pedestrian and poetic, a portal into the practices and collective memories of ballet.
Melanie Chisholm has collaborated with the choreographer Jules Cunningham on "How Did We Get Here?," a dance piece exploring what the body holds.
Starring Jessica Lange and Ed Harris, Jonathan Kent's adaptation of "Long Day's Journey Into Night" started production, only to lose key financing.
"Houseboy" took shape at the South Africa-based Center for the Less Good Idea, where artists are allowed to follow their own impulses.
Crystal Pite's "Light of Passage" at the Royal Ballet takes on big issues: refugees, life and death. At Ballet Black, Gregory Maqoma shines.
Benjamin Millepied's L.A. Dance Project presents a "Romeo and Juliet" with same-sex lovers. And at Paris Opera Ballet, Alan Lucien Oyen goes Bauschian.
The events around Queen Elizabeth's death have unfolded with an astonishing amount of formal, choreographed movement.
"Burn" is an unlikely hybrid: A movement-focused show performed by a famous actor with no dance training, about a man whose medium was words.
The choreographer Akram Khan and Tamara Rojo, English National Ballet's artistic director, talk about their "Giselle," coming to the Brooklyn Academy of Music.
Christopher Wheeldon's full-length work for the Royal Ballet succeeds best when not meeting the demands of storytelling.
