NYT > Dance
Mr. Peck’s dances for the revival of the Rodgers and Hammerstein musical on Broadway tick almost every box of dutiful choreography, if without force.
Lucinda Childs’s expanded “Histoire,” which had its premiere on Wednesday, is surprising not for how different it is from Graham, but for how alike.
Watch a portion of “Little Rhapsodies,” which features Mr. Lubovitch’s lush, flowing movement.
A survey intended for internal use was leaked to the French media. It shows dancers concerned about verbal and sexual harassment and a lack of support.
His company’s program at the Joyce Theater featured a premiere that, like most of his work, had fine craftsmanship but left little impression.
In monasteries in remote Assam, prayer is expressed through dance. That style, Sattriya, is coming to New York this weekend.
“Playlist (Track 1,2),” on the program “Voices of America,” doesn’t imitate hip-hop but lets its spirit infuse the choreography.
The events, beginning in the fall, will involve companies from around the world, including rarities and a “Night of 100 Solos” in four cities.
Peter Martins had mapped out most of City Ballet’s next season before he retired under pressure. But there was still work for its new leaders.
Mr. Lubovitch, who’s been a choreographer for 50 years, talks about his work and learning from the best: Graham, Limón and the stage of a nightclub.
A section of “Chronicle” (1936), Graham’s scorching, all-female response to fascism.
He wove the African-American experience, including the pain of discrimination, into modern dance and directed and choreographed the musical “Raisin.”
Ballet Hispánico’s world premieres at the Joyce Theater were inspired by Federico García Lorca — one by a play, one by his friendship with Dalí.
Alicia Graf Mack, a former performer with the Dance Theater of Harlem and Alvin Ailey American Dance Theater, will join Juilliard this summer.
Buck and Boogz are idealists who want to bring dance to new audiences. Their stage show, “Love Heals All Wounds,” takes on contemporary social ills.
A lawyer by training, Mr. Guest became a leading authority on the period from 1750 to 1900 and contributed to a well-loved 20th-century ballet.
Gesel Mason’s “No Boundaries” is a reclamation project and a feat for Ms. Mason, who performs in seven works by seven black choreographers.
Ms. Childs used to be the antithesis of Martha Graham. But now she’s reworking a 1999 dance in a way that synthesizes their approaches.
Brought in from outside the arts world, Debora L. Spar, formerly the president of Barnard College, is leaving after a short and rough tenure.
The choreographer and dancer Jack Ferver made this duet, part of his new show “Everything Is Imaginable,” for himself and his old friend Reid Bartelme.