NYT > Dance
Dean Moss’s “Petra” riffs on Fassbinder’s “Petra von Kant” and his life as a choreographer: “that process where you never attain what your desire is.”
A tumultuous ballet season grows more tumultuous, as dancers at American Ballet Theater vote to authorize a strike as contract negotiations stall.
Malpaso’s dancers remain driven and invigorating, but the dances on its program at the Joyce felt like missteps.
The New York City Ballet principal Maria Kowroski dances the opening of George Balanchine’s “Mozartiana.”
Watching performances at the American Realness festival, our critic was nudged into thinking about artists’ attitude toward audiences.
The Bolshoi contains multitudes — or, at least, doubles of some repertory, including “Romeo and Juliet,” whose new version is byAlexei Ratmansky.
The American Dance Platform showcases multiple American companies and idioms including hula, Irish footwork, tap, Lindy, modern and ballet.
Mr. Molina’s striking flamenco skills took him to stages all over America and made him a “Tonight Show” regular.
Heather Kravas’s dance, a series of studies in minimalism, showed off the dimensions and potential of the new space.
Aaron Mattocks, who has a background as a performer, choreographer and administrator, will be the theater’s new director of programming.
In Moriah Evans’s “Figuring,” minuscule movements start from deep inside the body before moving out.
Whether exuding power or poignancy, she left a lasting impact at City Ballet on roles that he choreographed expressly for her.