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A crew of corps de ballet members, six women and one man, head into the delayed winter season with a new rank: soloist.
The Northern Irish choreographer Oona Doherty looks at despair through an ethereal lens at the Irish Arts Center.
The choreographer continues his research into African American worship and the Black Shakers in “Power” at the Brooklyn Academy of Music
Justin Peck takes over choreographic duties in the Steven Spielberg adaptation of the 1957 musical in which words, not bodies, rule the screen.
Darla Hoover is to be chair of faculty and Aesha Ash will fill the newly created position of associate chair at the New York City Ballet-affiliated academy.
Peter Anastos returns to the comedic troupe he helped found for “Nightcrawlers,” a Jerome Robbins sendup at the Joyce Theater.
His days as a ballet prince are in the past. Now this regal member of Alvin Ailey American Dance Theater brings his own drama to the stage.
Alvin Ailey American Dance Theater returns to New York City Center with stage premieres by Robert Battle and Jamar Roberts and a stunning “Lazarus.”
A year of uncertainty was capped by a happy ending: a rush of performances this fall, including standouts by masters (Twyla Tharp) and breakout stars (LaTasha Barnes).
In the postponed premiere of “Wednesday” at New York Live Arts, Raja Feather Kelly asks: “Who has the right to tell anyone’s story?”
The return of New York City Ballet’s holiday classic will look a little different this season, with children 12 and above and new costumes for the party scene.
The choreographer returns to the East Village — and La MaMa — with “Petronio Punk Picks and Other Delights,” landing in a place of nostalgia.
In “Twyla Now,” a program of works featuring ballet stars and a youthful ensemble at New York City Center, Tharp merges the past with the present.
Luciana Achugar presents the premiere of “Puro Teatro: A Spell for Utopia” at the new, improved Chocolate Factory, but its pleasures feel one-sided.
Gina Gibney unveils an expanded company in three premieres by Sonya Tayeh, Alan Lucien Oyen and Rena Butler at the Joyce Theater.
In “Review,” the choreographer Madeline Hollander reimagines months of unseen dance performances at the Hamilton Fish Pool in Manhattan.
American Ballet Theater’s fall gala featured “ZigZag,” an energetic yet dated premiere by Jessica Lang to songs sung by Tony Bennett.
The New York City Center festival presented exceptional works by Alexei Ratmansky and Ayodele Casel, including a captivating premiere.
American Ballet Theater returns to Lincoln Center with its full-length production — and with it, a breakthrough performance by Skylar Brandt.
The fall season comes to a close at New York City Ballet, with a flurry of farewells and new beginnings.
To Camille A. Brown, the choreographer and co-director of “Fire Shut Up in My Bones” at the Metropolitan Opera, this production is about legacy.
Maria Kowroski, the reigning principal of New York City Ballet and the last company member to have worked with Jerome Robbins, takes her final bow.
We talked to three New York City Ballet dancers — Megan Fairchild, Jovani Furlan and India Bradley — in the months leading up to their return to the stage.
In “Sw!ng Out,” Teicher and a creative team bring vernacular dance to the Joyce. Tacked onto the end? A jam for all.
The Fall Fashion Gala returned with new works by Sidra Bell and Andrea Miller that felt like fast fashion: flimsy.
New York City Ballet opened its fall season on Tuesday with its first full-scale performance since the pandemic began. It felt like a rainbow.
He used to say he would be remembered more for his teaching than his ballets. The film “In Balanchine’s Classroom” provides a glimpse of that.
Ayodele Casel and Torya Beard have organized a festival that celebrates percussive dance and artists of all ages.
Gwen Verdon gets her due at the Fall for Dance Festival with “Sweet Gwen Suite,” a reimagining of three works made for TV in the late 1960s.
Madeline Hollander’s “Review” at Performa, in which performers will mark dances that have been canceled or postponed, seems an apt response to our moment.
In Pablo Larraín’s unsettling film, Mariana Di Girolamo stars as a dancer who finds freedom through reggaeton dance.