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Oona Doherty, a rising star in Europe, brings a Belfast-inspired piece to New York. “This is about kinetic trauma,” she says. “This is about you, as well.”
A year of uncertainty was capped by a happy ending: a rush of performances this fall, including standouts by masters (Twyla Tharp) and breakout stars (LaTasha Barnes).
The starry program “Twyla Now,” at New York City Center, ends with a dazzling premiere featuring dancers who could be the stars of tomorrow.
In “I Am Also – Monte,” Molly Poerstel and Monte Jones consider how, in dance, the past seeps into the present and into collaborations.
The artist’s “A Line,” her first New York solo show, sets the tone for the ambitious new 52 Walker, run by the gallerist Ebony L. Haynes.
A program of works by the former Alvin Ailey member Hope Boykin is about stepping into a surer sense of herself.
The choreographer Richard Move’s new work, partly inspired by Japanese, Indian and Greek mythology, wends its way across Governors Island.
These artists doubted Virgin Voyages would want what they had to offer. But their show, part revue, part night out at a club, is about to set sail.
“Deep Blue Sea” at the Armory is a colossal undertaking both in subject matter, inspired by “Moby-Dick” and “I Have a Dream,” and theatrical scope.
In Julie Mayo’s “Nerve Show” at Target Margin Theater, thwarted impulses express themselves both through movement and attempts at speech.
Professionals and amateurs can leave their living rooms behind as dance studios make a cautious comeback.
The choreographer Miguel Gutierrez’s podcast “Are You for Sale?” looks at what he calls “the ethical entanglements between art and money.”
Choy Ka Fai’s interest in shamanic dance practices fuels his immersive exhibition at Tanz im August in Berlin.
A premier teacher of Merce Cunningham’s technique, she gave equal attention to everyone in her class, not just those destined for stardom with his company.
Street performances celebrated the Chocolate Factory Theater, a space that has often seemed inseparable from the work that happens there, as it moved to a new building.
This online show, which wraps up its present incarnation on Thursday, became a serendipitous gathering place and a Thursday-night ritual.
The “In Plain Site” program, delayed two days by stormy weather, was worth the wait.
Ballet’s strict gender norms put pressure on women to conform. But dancers who don’t are finding they’re not alone.
At times, the experience of “SOCIAL! the social distant dance club” felt no more freeing than dancing by myself in my cramped living room, our critic says.
Devynn Emory’s “deadbird” — a duet for Emory and a mannequin — deals with grief, envisioning “an ideal care team for a body who’s passing.”
Online tutorials for TikTok and music-video routines can help prove you wrong. The “WAP” dance is within your reach.
Some performance spaces in New York are reminding viewers that the work they see is being performed on Indigenous land.
The author of “Dance Nation” talks about her play and female adolescence, as it plays out in dressing rooms and daydreams.
This company will perform choreography by Jerome Robbins, Agnes de Mille and others in a program at the Joyce Theater.
“The House Is Open,” at the Bard College performing arts center, blurred the boundaries between dance and the visual arts.
“Then She Fell” derives its fractured narratives, its doppelgängers and mirror images, from “Alice’s Adventures in Wonderland” and “Through the Looking Glass.” &nbs…