Thursday, October 17, 2024
American Ballet Theater opened its fall season at Lincoln Center with premieres by Gemma Bond and Kyle Abraham in his most accomplished ballet yet.
SOURCE: The New York Times Subscription at 12:01PMTuesday, October 15, 2024
The fall season wrapped up with an excellent program featuring works by Balanchine and Ratmansky, as well as a celebration of Justin Peck’s 10th year as resident choreographer.
SOURCE: The New York Times Subscription at 01:11PMTwo dancers from the Ailey company perform part of “Night Creature” on the roof of the Whitney Museum, where the choreographer is the subject of a major exhibition.
SOURCE: The New York Times Subscription at 05:00AMThursday, October 10, 2024
New York City Ballet dressed up its fall fashion gala with a program of female choreographers. This was history, even if the results were mixed.
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Olivia Bell, 20, a radiant member of New York City Ballet, reprises the role she knocked out of the park as a student: “I want to do it right.”
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Monday, September 23, 2024
New York City Ballet opened its fall season with classics by George Balanchine and Jerome Robbins, along with a company premiere by Lar Lubovitch.
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The 10-day festival at City Center opened with a program of works by Alexei Ratmansky, Tiler Peck and Andrea Miller.
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In “Edges of Ailey,” a new exhibition at the Whitney Museum of American Art, the choreographer takes center stage. It’s another revelation.
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Faye Driscoll uses the ocean as her collaborator in a sunset dance celebrating the 10th anniversary of Beach Sessions.
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Breaking, the dance form created more than 50 years ago in the Bronx, has made its Olympic debut. It’s not a sport, but does that matter?
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At the Palais Garnier, ballet met hip-hop and beyond in a glittering Cultural Olympiad presentation of Saïdo Lehlouh’s ever-evolving “Apaches.”
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Rachid Ouramdane, who presented a major new dance as part of the Cultural Olympiad, directs the Théâtre National de Chaillot in Paris. How does he do it all?
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A program of arts events shown in conjunction with the 2024 Olympic and Paralympic Games looks at the relationship between art and sport.
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After a tremendous “Swan Lake” performance, Chloe Misseldine was promoted onstage at the Metropolitan Opera House. The audience went nuts.
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The rise of the soloist Chloe Misseldine is part of the artistic director Susan Jaffe’s master plan: Start them young and give them time to grow.
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Thursday, June 13, 2024
New York City Ballet wrapped up its 75th anniversary celebration at Lincoln Center this spring with a look to the future. But it didn’t always speak to it.
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Leading off the summer season at Little Island in Manhattan, the choreographer presents “How Long Blues,” with T Bone Burnett and David Mansfield.
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Mira Nadon, the rising New York City Ballet principal, is coming off her best season yet. And it’s only the beginning.
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As Ballet Tech, a tuition-free public school, prepares for its Joyce season, Dionne Figgins teaches the students to see the big picture of their art form.
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A couple with deep ties to the popular Brooklyn festival and its founder and longtime artistic director, Chuck Davis, recall when their wedding was part of the show.
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Tamara Rojo, the company’s new artistic director, has a vision of ballet as for the people — all the people — with dances that reflect our world.
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For its Joyce season, the company unveils “Juke,” a spiky premiere by Jamar Roberts, along with dances by David Parsons and Penny Saunders.
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Eduardo Vilaro celebrates his 15th year as artistic director of Ballet Hispánico with a premiere exploring the life of the Afro-Hispanic artist.
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The spring season at New York City Ballet opened with an all-Balanchine program and a vintage miniature from 1975: “Errante,” staged for a new generation.
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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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