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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.
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.
After a few slow, sad years, the dance calendar returned to something like abundance, with standout shows that leaned into joy and community.
The veteran choreographer Sally Silvers celebrates her 40th anniversary season with “Pandora’s New Cake Stain,” a version of her first evening-length work.
In New York City Ballet’s production this year, the children, most of them new to the show, are back to normal. Pint-size, that is.
The “Lion King” choreographer brings his company to the Joyce Theater in programs that feature his work and dances by the talented Norwood Pennewell.
The choreographer Serge Aimé Coulibaly explores the fear that permeates society in the North American premiere of “Wakatt” at NYU Skirball.
White privilege, racism, two pandemics: This choreographer takes it all on with the help of “The Nutcracker” and two of dance’s go-to composers.
For its Lincoln Center season, the Paul Taylor Dance Company presents premieres by Lauren Lovette and Amy Hall Garner, along with the classics.
The American Ballet Theater principal ruptured a tendon in December. He recently took his first step back to the stage with “Whipped Cream.”
The company continues its fall season with the delight that is “The Dream,” and a Christopher Rudd premiere with an all-Black cast and creative team.
Reflections on the fall season of New York City Ballet, which remains in transition with a new generation raring to go.
The busy choreographer returns to the stage, maybe for the last time, in her celebrated trilogy exploring Black life.
The choreographer Fouad Boussouf presents his mystical “Näss” at the Joyce Theater as part of the Crossing the Line Festival.
The prolific choreographer tells a new story with two classic works at New York City Center: “In the Upper Room” and “Nine Sinatra Songs.” In that order.
Phelan, a principal at New York City Ballet, has gone from rising to risen with a stellar fall season that has shown her range in a string of debuts.
The City Center festival continued with Kyiv City Ballet, a Christopher Wheeldon duet and a daring work for Dayton Contemporary Dance Company.
With music by Solange and ballets by Kyle Abraham, Gianna Reisen and Justin Peck, the company’s annual fashion gala prizes costumes over dancing.