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Melanie Chisholm has collaborated with the choreographer Jules Cunningham on “How Did We Get Here?,” a dance piece exploring what the body holds.
Starring Jessica Lange and Ed Harris, Jonathan Kent’s adaptation of “Long Day’s Journey Into Night” started production, only to lose key financing.
“Houseboy” took shape at the South Africa-based Center for the Less Good Idea, where artists are allowed to follow their own impulses.
Martinez, once a member of the company’s troupe and a former leader of the National Dance Company of Spain, will take up the position in December.
Crystal Pite’s “Light of Passage” at the Royal Ballet takes on big issues: refugees, life and death. At Ballet Black, Gregory Maqoma shines.
Benjamin Millepied’s L.A. Dance Project presents a “Romeo and Juliet” with same-sex lovers. And at Paris Opera Ballet, Alan Lucien Oyen goes Bauschian.
The events around Queen Elizabeth’s death have unfolded with an astonishing amount of formal, choreographed movement.
“Burn” is an unlikely hybrid: A movement-focused show performed by a famous actor with no dance training, about a man whose medium was words.
The choreographer Akram Khan and Tamara Rojo, English National Ballet’s artistic director, talk about their “Giselle,” coming to the Brooklyn Academy of Music.
Christopher Wheeldon’s full-length work for the Royal Ballet succeeds best when not meeting the demands of storytelling.
The British tenor Allan Clayton’s portrayal of the title role in Brett Dean’s opera is personal, emotional — and a breakthrough.
A former star ballerina with the company, Jaffe will assume the reins after the 30-year tenure of Kevin McKenzie.
Silas Farley’s dance for City Ballet’s Stravinsky festival has a score by David K. Israel that builds on a poem Balanchine wrote and set to music for Stravinsky.
“There are no rules,” says Janie Taylor, a former City Ballet principal, whose dances are featured in the L.A. Dance Project’s Joyce Theater season.
On the 50th anniversary of New York City Ballet’s Stravinsky Festival, remembering a collaboration for the ages: Balanchine and Stravinsky.
Mejia and Quan are the artists in residences at this summer’s festival, which will also feature new works by Justin Peck, Pam Tanowitz and others.
In a new memoir, the former president of the Brooklyn Academy of Music reflects on some of the organization’s most memorable stagings and artists.
For his new work at New York City Ballet, Peck enlisted the composer Caroline Shaw and the artist Eva LeWitt: “It has really felt like a back-and-forth conversation.”
Rojo, who has given the English National Ballet a new allure, succeeds Helgi Tomasson as just the fifth director to lead the San Francisco company.
Lefèvre, a former director of the Paris Opera Ballet, is stepping down from running the Cannes Dance Festival. What next? “I want to dance.”
Shuler, a former dancer, has run the theater since 2003, instituting its popular Fall for Dance series.
In his long career, most of it with the Royal Shakespeare Company, he played everyone from King Lear to Primo Levi to Ringo Starr.
Based on the 1830 novel by Stendhal, Pierre Lacotte’s new production for the Paris Opera Ballet is an old-fashioned costume drama.
Wayne McGregor’s full-length work, a collaboration with Thomas Adès and Tacita Dean, opens at a moment of purgatorial relevance.
The choreographer Andrea Miller chose Lido Pimienta — “she’s a superstar” — to score her new piece for New York City Ballet. They talk about breaking new ground.
Liam Scarlett killed himself after he was accused of misconduct. Now the dance world is grappling with the aftermath.
The choreographer JoAnn M. Hunter has quietly become an important figure in the world of musical theater, especially with her work for Andrew Lloyd Webber.
Since last summer, leaders of New York’s pre-eminent dance companies have been meeting weekly to share ideas and problems.
The National Ballet of Canada’s newly named artistic director discusses her vision for diversity, accessibility and transparency in dance.
The annual arts event in the north of England suggests that focusing on community and inclusiveness could be a natural, post-pandemic outcome for artists.
The festival lost some premieres, but gained others, including one by Dimitris Papaioannou, and kept a free project in an old factory.