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He was Miami City Ballet’s resident choreographer before establishing his own company. He later returned to his native Peru to run the National Ballet. He died of Covid-19.
At a tentative moment in the city’s reopening, Caleb Teicher & Co. inaugurated the in-person return of Works & Process at the Guggenheim Museum.
The choreographer Jeremy McQueen’s film “Wild: Act 1” seeks to give voice to young men caught in the criminal justice system.
A dispute between the director of Peak Performances and an Indigenous choreographer hinged on workplace behavior, power and the boundary between art and social justice.
The slate of commissioned works for reduced capacity audiences involves the artists Bill T. Jones, David Byrne and Laurie Anderson.
Unpretentious innocence and detailed choreography fuel Keone and Mari Madrid’s West Coast urban dance riff on “Romeo and Juliet.”
This landmark work, “a whole new form of theater,” originated with a poet, Ntozake Shange, dancing.
To get at the Fosse style, a dance critic breaks down “Who’s Got the Pain?,” the only film number Bob Fosse and Gwen Verdon performed in together.
The Temptations’ dancing was essential to their allure. Sergio Trujillo makes it more intricate, stylistically varied and narratively sophisticated.
In Young Jean Lee’s play, with choreography by Faye Driscoll, dance is a way for characters to repair relationships and communicate with one another.
What does tap mean in musicals these days? It’s often used as a sparkly outfit — a symbol of Broadway’s past, danced by nostalgists and drama nerds.
“Petra,” by the director-choreographer Dean Moss, riffs on a Fassbinder film and sadomasochistic relationships.
Ms. Ellsworth is a performer whose ambivalence about performing is baked into the title of her new work, “The Rehearsal Artist.”
The staging is the star in Matthew Bourne’s pass-the-popcorn adaptation of the movie.
In “Arlington,” a dance segment takes us into the subtext: “the pressure put on a body in confinement.”
The show, a hybrid of physical theater and cinema directed by Lars Jan, at New York Live Arts, offers a musical window on a silent couple.
Mr. Glover is joining the cast of this musical, but it has no role for a star dancer, unlike “Jelly’s Last Jam” or “Bring in ’da Noise, Bring in ’da Funk.”
“Return to Absence” and its companion, “Ebb,” at New York Live Arts, took a silent-movie approach to adapting “Molloy,” “Malone Dies” and “The Unnamable.”
The musical, mostly forgotten since the 1940s, will be choreographed by Camille A. Brown for the Encores! series at City Center.
Mr. Hines, who has been performing for most of his life, uses his autobiographical show to teach the next generation and to keep memories alive.
Hofesh Shechter had never choreographed for a Broadway show, but his childhood experience led him to embrace the challenge of adjusting the work of Jerome Robbins.
This HBO documentary on the Bolshoi Ballet, directed by Nick Read, tells the story of the 2013 acid attack on its artistic director, arranged by a soloist in the troupe.
Settling into a six-week run at West Park Presbyterian Church, the troupe has found ways to subtly mirror and amplify the emotions of its star.
Chen Shi-Zheng, who created the pop-opera “Monkey: Journey to the West,” encourages his troupe of young acrobats to goof off in his new production.
“Lord of the Dance: Dangerous Games” is your last chance to watch Mr. Flatley dancing. And with him, you’ll get flames, fog-banks and explosions.
Nelson George’s documentary delves into the talent and drive — and the career-threatening injuries — of American Ballet Theater’s first black female principal dancer.
As director and choreographer of “An American in Paris” at the Palace Theater, Mr. Wheeldon proves the power of wordless storytelling.
American Dance Machine for the 21st Century, a repertory company for musical-theater dance, made its debut at the Joyce Theater on Tuesday.
In a mix of happenstance and connections, three members of New York City Ballet will soon perform in major musicals.
Iain Webb, a former dancer with The Royal Ballet, was first appointed to the position in 2007 on a four-year contract.
The only way virtuosic jazz tap has made it onto Broadway this century is in a vehicle that purports to jump back eight decades.