NYT > Dance
The two women talk about overcoming barriers in their careers, fighting for better roles and how it is important for artists to be politically active.
Two world premieres and the revival of a Motown “Othello.” Our critic on Mr. Elkins’s appeal and drawbacks.
New York City Ballet bursts into spring, opening its six-week season with three freeing works by Balanchine.
Alexei Ratmansky, Justin Peck and Christopher Wheeldon, who have infused classical ballet with energy and excitement, talk about their art and craft.
Our latest installment in the Instagram series #SpeakingInDance features Chyrstyn Fentroy and Da’Von Doane of Dance Theater of Harlem.
Virginia Johnson of Dance Theater of Harlem wanted a modern work for her ballet dancers to tackle. She found one under her own roof, space shared by the Limón company.
In Abby Zbikowski’s ferociously physical piece, the dancers fight not one another but themselves (and win).
The cast includes Jessie Mueller, Joshua Henry and Renée Fleming, while New York City Ballet’s Justin Peck will choreograph.
Throughout the countryside, once graceful buildings are being targeted for their antique architectural elements. A mayor is fighting to save them.
Okwui Okpokwasili, a magnetic performer, choreographer and writer returns with a long-gestating new work, “Poor People’s TV Room,” at New York Live Arts.
Our latest installment in the Instagram series #SpeakingInDance features Amar Ramasar of New York City Ballet.
The company’s debut season in New York, at the Joyce Theater, includes an unusual dance — to Dylan Thomas poems read by the actor Richard Burton.
The Lower Manhattan Cultural Council has unveiled its lineup for the 16th annual festival of dance, music, theater and visual art.
Over the next six weeks, City Ballet will present 43 ballets by 22 choreographers, including Justin Peck, Alexei Ratmansky and Christopher Wheeldon.
The company, whose season at the Joyce begins on April 18, has become less easy to define, as its vision of the Spanish-speaking world has grown more fluid.
A hypnotic, female spirit permeates two works: Adrienne Truscott’s “THIS” (“I know, you’re all like — this is a dance?”) and Lily Gold’s “Good Mud.”