Close Login Box
The joy of social dancing is now tempered by the fear of contagion.
The holiday staple alone can help keep a company afloat all year long.
To survive this pandemic and beyond, dance, theater and opera need to get online fast, according to the new streaming platform for the arts.
Krumper’s in-your-face stomping forges an unlikely connection with the LAPD.
“It was exhausting,” the Russian ballerina recalls of her overhaul of “La Bayadere” for ABT in 1980.
In southern India, a commune devoted to Odissi dance keeps a 2,000-year-old art alive despite the pandemic.
A new documentary explores the savvy showman behind the art form’s most famous choreographer
“The dancer’s fate is in the hands of the conductor,” one ballerina says of the hidden heroes of the art form.
How the band Thao and the Get Down Stay Down created “Phenom,” helping us get down while staying home.
These digital outlets offer the joys of organized, musical humanity.
The dancemaker retools himself as a filmmaker as his dancers rehearse in their hallways, making entrances and exits through bathroom doors.
The magical properties of a ramen spoon, a tennis ball and a yoga mat.
In “EVE Project,” the empowerment theme would have been better served by focusing on choreographer’s very best works.
Washington Ballet’s Sona Kharatian creates an indelible, sophisticated character in Balanchine’s “Slaughter on Tenth Avenue.”
The French Algerian choreographer takes on toxic masculinity and gender cliches in “Boys Don’t Cry,” coming to Dance Place on Feb. 29 and March 1.
At the Kennedy Center, Hee Seo shines in American Ballet Theatre’s production.
“Anything to avoid the thought of the 3,000 people,” says one dancer, explaining why superstitions persist backstage.
Jamar Roberts’s “Ode” somehow manages to show the depth of loss to gun violence, as well as communal unity.
Our dance critic reviews the pop stars’ dazzling halftime performance.
Rudolf Nureyev’s opulent and deeply moving production dazzles at the Kennedy Center.
Mixed bill includes Ratmansky’s meditation on Soviet society, “Piano Concerto #1,” the finale of his Shostakovich Trilogy.
Matthew Bourne’s Windsor-inspired take on the classic ballet returns, with a snarling corgi, cellphones and all the thunderous, shirtless male swans of his 1995 original.
Works by Mark Morris, Pam Tanowitz, Monica Bill Barnes and more.
Monica Bill Barnes & Company performance is part dance performance, part vaudeville act.
The company performs new works by Jessica Lang, Annabelle Lopez Ochoa and John Heginbotham at Harman Hall.
How teenagers Kidathegreat, Kaycee Rice, Taylor Hatala and others are changing how we see and think about dance in the digital age.
The best choice? A box of scarves. And no rules.
Viktoria Tereshkina dazzles in the three-hour ballet, yet its plot doesn’t merit such a long exploration.
Compagnie Centre National de Danse Contemporaine performs “Beach Birds” and “BIPED” at the Kennedy Center.
Ryan Heffington, who created the moves in “Chandelier” and the “Transparent” musical finale, wants to shake your world. And you.