NYT > Dance
Mr. De Luz retires on Sunday with a program that includes, appropriately, George Balanchine’s demanding “Theme and Variations.”
The company is in flux on many fronts, but Teresa Reichlen’s speech at the gala set out a fresh agenda — and dancers are delivering peak performances.
In “Pitkin Grove,” at the Joyce Theater, her focus on form persists, but she has carved out more space for feeling to creep in, or blast through.
“A Quiet Evening of Dance” is a program of the choreographer’s new and newish works that begins in silence and builds to a brilliant finale.
Patricia McBride, Edward Villella and Mimi Paul have been invited to coach the roles that were made for them by George Balanchine.
Anne Teresa De Keersmaeker’s new piece at the Park Avenue Armory found its pulse only intermittently.
The movie focuses on two estranged brothers who are at odds, until they head out on the dance floor.
The country’s premier ballet company, rocked by accusations against its former leader and three male dancers, is now reassessing its culture.
Joaquin De Luz, who is retiring from New York City Ballet on Oct. 14, dances a portion of George Balanchine’s “Theme and Variations.”
The “NY Quadrille” season opened with John Jasperse’s eccentric “Hinterland” and Kyle Abraham’s less intriguing “Dearest Home.”
Ms. De Keersmaeker’s cerebral, formally rigorous work seems to be everywhere these days, including next week at the Park Avenue Armory (“The Six Brandenburg Concertos”).
Juliana F. May talks about her new work, “Folk Incest,” which uses text and movement to grapple with personal and intergenerational trauma.
A few innovative shows at the Bienal de Flamenco were a big departure from the traditional campfire-and-smoke idea of the dance and music form.
Ms. Mearns, interpreting Isadora Duncan, has stepped transcendently into a different kind of spirit, gentler than the dancer we know from City Ballet.
In a moving speech before the gala’s three new ballets, Teresa Reichlen spoke of the dancers’ commitment to “dignity, integrity and honor.”
Our writers choose highlights from Fall for Dance, the eclectic, wildly popular and popularly priced ($15 a ticket), series at City Center.
Ms. Gill, whose new piece is part of “NY Quadrille,” makes work that demands patience; fall under its spell, and it’s absorbing, even thrilling.
At its best, this collaboration between the choreographer Will Rawls and the poet Claudia Rankine, merges words and movement with pungent force.
RoseAnne Spradlin’s “Y” is a cyclical exploration of form: The movement repeats and changes its facing 8 times, so the dance is visible from multiple sides — like a sculpture.