NYT > Dance
“Pepperland,” a deconstruction of the Beatles’ “Sgt. Pepper,” is a series of brainy notions — evocative but distanced.
Florence Welch soars on her band’s new album, the Marvel series returns to Netflix and the classics come back to Naumburg Bandshell.
Dancing the August Bournonville jewels of their home repertory at Jacob’s Pillow, the Royal Danish Ballet comes close to the heart of dance.
Using intricate choreography and cues, the Angel Shadows — dancers and puppeteers — propel the Angel into the air and operate her heavy wings.
Kenneth MacMillan’s “Romeo and Juliet,” a beloved war horse at American Ballet Theater, has suddenly lost luster despite impressive new faces onstage.
Audience members will watch Paloma McGregor’s “Building a Better Fishtrap/from the river's mouth” by boat. Here’s a portion of what they will see.
The company’s season opened with a new work that fizzled out. But it also featured a dance that, 30 years after its premiere, is still eye-opening.
Works by Cori Olinghouse, Enrico D. Wey and Catherine Galasso are performed across Lower Manhattan, at nondescript office buildings and historical sites.
Ruth St. Denis and Ted Shawn’s touring trunks are packed with costumes and accessories that filled out their exotic visions.
The Lincoln Center festival will also include Haydn’s “The Creation,“ aerial hip-hop dancing and ”Waiting For Godot.”
Odette is one of the great Romantic symbols of the longing for redemption, says our chief critic as “Swan Lake” returns to American Ballet Theater.
For its first Pride program, the Joyce is pairing Madboots and Sean Dorsey Dance, whose documentary dance work explores the AIDS epidemic.
Watch “Them” at Performance Space New York, go to Ladyfag’s first festival and tune into the tangled Showtime drama.
Henry Alford’s “And Then We Danced” and Laura Jacobs’s “Celestial Bodies” explore the cultural and personal resonances of the art of movement.
In “Of Granite and Glass,” the choreographer Catherine Galasso uses the Winter Garden’s marble staircase as a singular stage.
Aran Bell, 19, who made an impression as a little boy in “First Position,” talks about dancing a lead role at American Ballet Theater.