Tuesday, April 16, 2024
Once a young bunhead, the acclaimed musical artist is taking the stage with the Martha Graham Dance Company. For her, this is holy grail territory.
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The company performed its first New York City Center season under the direction of Robert Garland in a program including George Balanchine’s “Pas de Dix.”
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In “Nail Biter,” a New York City premiere, this exacting choreographer explores her ballet roots and how to be in her body now.
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The choreographer Dianne McIntyre presents “In the Same Tongue,” a dance she calls “an artistic history of myself,” at the new Apollo Stages at the Victoria Theater.
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Under the artistic leadership of Emily Molnar, Nederlands Dans Theater returned to New York City Center with a less than stellar triple bill.
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The Trisha Brown Dance Company returned to the Joyce Theater with an enthralling premiere by the French choreographer Noé Soulier.
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Mark Morris’s “The Look of Love” at the Brooklyn Academy of Music is uneven, but you can’t fight its swing.
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Hubbard Street Dance Chicago presents the first of two programs at the Joyce Theater, including a sparkling New York premiere by the hip-hop choreographer Rennie Harris.
SOURCE: The New York Times Subscription at 12:02PMJustin Peck, who directs and choreographs a narrative dance musical to Sufjan Stevens’s concept album “Illinois,” resorts to his usual standby: community.
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New works, by Alexei Ratmansky and Tiler Peck, and revivals brought solace and sadness, beauty and humor — and full-out, thrilling dancing this winter season.
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Robert Garland, Dance Theater’s new artistic director and longtime resident choreographer, presides over his first season at New York City Center.
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The choreographer Anne Teresa De Keersmaeker teams up with the pianist Pavel Kolesnikov for a new production of the Bach masterpiece at N.Y.U. Skirball.
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The choreographer’s contemplative “Deep River,” performed by Lines Ballet at Lincoln Center’s Rose Theater, swims along, brimming with hope and love.
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In “Solitude,” a stellar, haunting work that had its premiere on Thursday, New York City Ballet’s artist in residence brings a photograph to life.
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The nonbinary dancers Ashton Edwards and Taylor Stanley made history in their magnetic performance of Justin Peck’s “The Times Are Racing” at New York City Ballet.
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For her latest program at the Joyce Theater, the one-of-a-kind choreographer showcases two new dances, along with a revival of “Ocean’s Motion.”
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The current season of “The Real Housewives of Beverly Hills” meets Merce Cunningham in an incongruous mash-up of reality TV and modern dance.
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Peck’s choreographic debut for the company, the lively “Concerto for Two Pianos,” shares the spotlight with Alexei Ratmansky’s mysterious, wonderful “Odesa.”
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Chita Rivera saw herself as a dancer, and that’s fitting: Her early ballet training was her secret weapon — and it never left her body.
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At Japan Society, “Nihon Buyo in the 21st Century,” a rare showcase in New York of this style of Japanese dance, forges a link between the past and present.
SOURCE: The New York Times Subscription at 12:18PMAt Japan Society, “Nihon Buyo in the 21st Century,” a rare showcase in New York of this style of Japanese dance, forges a link between the past and present.
SOURCE: The New York Times Subscription at 12:18PMFriday, January 5, 2024
As part of Under the Radar, Nile Harris resurrects his play that weaves together text, sound, minstrelsy and dance to explore the American experience.
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Over the past year, dance has shown its broader worth, from stage to film, #balletcore to music videos, TikTok tutorials to movement classes.
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“A Dewdrop is a drop of dew,” India Bradley said. “So can’t anyone do it?” She and the guest artist Alexandra Hutchinson perform the role in “George Balanchine’s The Nutcracker…
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Some conservative media took offense at a joy-filled holiday video shot at the White House. They’re missing the point.
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As part of its New York City Center season, Alvin Ailey American Dance Theater presents premieres by Amy Hall Garner and Elizabeth Roxas-Dobrish.
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New York City Ballet’s 75th anniversary celebration and Dance Reflections from France delivered some of this year’s brightest moments.
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In a Dance Reflections program, Malou Airaudo and Germaine Acogny’s duet “common ground[s]” precedes Pina Bausch’s “Rite.”
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Battle, the artistic director who brought Alvin Ailey American Dance Theater into a new century, resigned just before the company’s new City Center season.
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Siblings, a Soldier from Ukraine and a New Prince: Children are the heart of this New York City Ballet classic. We hung out with four in this year’s production.
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