Monday, April 20, 2026
New York City Ballet opens its spring season with classic works by George Balanchine and more. Here are some dancers who will surely stand out.
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The violinist Johnny Gandelsman wanted his music to move. In the overly winsome “Johnny Loves Johann,” he performs Bach’s cello suites alongside four dance artists.
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At the School of American Ballet’s new health and wellness center, bodies and minds share equal billing and everyone gets the help they need.
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Her dance company, the oldest in the United States, celebrates its centennial in a series of mixed bills. But why aren’t all the dances by Graham?
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And so does the company, which revives its lush, fantastical, large-scale production, set in the Caribbean.
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In “Superbloom,” the latest work by the ballet dancer Sara Mearns and the postmodern choreographer Jodi Melnick, women are at the forefront.
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American Ballet Theater opened a short spring season at Lincoln Center with a full-length work by Lar Lubovitch from 1997. Time hasn’t freshened it up.
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This art form is alive, and Chalamet, who comes from a dance family, knows it. But what value does ballet have for the world at large?
SOURCE: The New York Times Subscription at 05:44PMThe free-spirited figure skater spoke to our dance critic about her approach to performing, the role of music and more.
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Benjamin Millepied’s “Romeo and Juliet Suite,” with its unusual approach to dance coupling and live performance, comes to the Park Avenue Armory.
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The Trisha Brown Dance Company is presenting a stellar double bill of Rauschenberg-designed works by Merce Cunningham and Trisha Brown.
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Dance Reflections, a festival that pushes contemporary dance brought performances to Manhattan and Brooklyn last weekend.
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Competition can wreck a figure skater, but Liu and other Olympians shed the pressure and delivered transcendent performances focused on artistry.
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The choreographer has a busy spring: early works at the Guggenheim’s swirling rotunda, a new appointment at Gibney Dance and a robust program at Bard.
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Taylor Stanley debuts as Carabosse, the glamorous, evil fairy in “The Sleeping Beauty.” He is the first male-identifying person to take the role at New York City Ballet.
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At New York City Ballet, Alexei Ratmansky exposes the current moment with a political satire based on “The Emperor’s New Clothes.”
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January is not a dry month for performance in New York, and this season, there were wide-ranging views of how bodies — more than words — can tell stories.
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Ballet evolves slowly, and that includes footwear. But a new shoe with sneaker technology is giving dancers support from the heel up.
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“The Testament of Ann Lee,” starring Amanda Seyfried, tells the story of the Shakers and their feminist leader. Dance and music are its vital, mystical language.
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This year, “Christmas Spectacular Starring the Radio City Rockettes” pays homage to the legacy of the group, but its future seems to be more about sisterhood than dancing.
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Twyla Tharp led the way with her distinct brand of American classicism, along with other artists who stepped it up.
SOURCE: The New York Times Subscription at 05:02AMJoyful, melancholy, heroic: Paul Taylor’s “Esplanade” celebrates its 50th anniversary and the extraordinariness of ordinary movement.
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The first week of the company’s annual season at City Center featured “Jazz Island,” an earnest premiere by Maija García, and a treasure by Alonzo King.
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At New York City Ballet, two boys from the School of American Ballet get to play a coveted role: Fritz, a terror of a little brother.
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For its season at New York City Center, its first major engagement here in years, the company disappoints with mediocre repertory.
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In “My Town,” Jack Ferver’s one-person take on the Wilder classic with hints of “Wisconsin Death Trip,” movement and storytelling are deftly intertwined.
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Dancers are famous for buckling down and getting through it. But a new openness about mental health has companies and schools focusing on their well-being, both physical and emotional.
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As part of its Lincoln Center season, the company presented works by Lauren Lovette, Robert Battle and Hope Boykin.
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For her new work, opening at BAM Fisher, Juliana F. May looks to early influences to create her version of a postmodern musical.
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This fall the offerings at American Ballet Theater, now in its 85th year, included a tepid premiere and touching debuts in Agnes de Mille’s “Rodeo.”
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American Ballet Theater’s first Black female principal dancer has given her farewell performance. But she’s not done with this art form yet.
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