334 stories by "Gia Kourlas"
The programs were all over the map, but the dancers held the season together. Six were promoted, including India Bradley, the first Black female to become a soloist.
American Ballet Theater opens with an all-Tharp program, including "Push Comes to Shove," the first work she created for the company and its newly defected star, in 1976.
The esteemed company presents a full-length contemporary work by Hofesh Shechter at New York City Center. Forget about pointe shoes. This is Chanel in socks.
New York City Ballet presents a new work of uncanny beauty, with costumes by Iris van Herpen, inspired by nature and technology.
The next step, in the case of "Ballade," coached by its original ballerina, Merrill Ashley, is to keep it in the repertory. Especially with Mira Nadon in the lead.
It can feel overwhelming to watch a dance. But if you follow the hands, they can unlock the mysteries of a moving body.
The New York City Ballet principal brings together dancers from four companies to perform works by the esteemed choreographer in a festival at the Joyce Theater.
The choreographer's latest works, at the Joyce Theater, explore the music of James P. Johnson and John Luther Adams.
In a tremendous performance, this American Ballet Theater principal danced her final "Swan Lake" to end her glittering 29-year career.
Christopher Wheeldon's lengthy "The Winter's Tale," a ballet based on the Shakespeare play, is filled with bad behavior but also love and forgiveness.
The Russian ballerina Olga Smirnova lit up the start of the company's six-week summer season. She wasn't alone.
Garcia, a former principal at New York City Ballet and San Francisco Ballet, takes over as Miami City celebrates its 40th anniversary.
In "The Life of Chuck," the actor known for spontaneous eruptions of joyful movement, lets loose with a feast of footwork.
The Taylor company revives "Churchyard," a forgotten gem from 1969 that shifts from angelic to ferocious as it cycles from life to death.
Copeland, the first Black female principal at American Ballet Theater, has announced she's retiring. She made history, and then made it count.
The spring season of New York City Ballet didn't seem to warrant much excitement " until it did, with a rush of dynamic debuts.
The tap choreographer and dancer returns to the Joyce Theater with "The Remix," a glorious gathering of artists, sound and soul.
Amy Sherman-Palladino's new series, created with her husband, takes ballet somewhere it doesn't usually go: the world of comedy.
The New York City Ballet principal Andrew Veyette is retiring after 25 years: "My path had a lot of peaks and valleys. Some very deep and some very high."
In "Lunch Dances," which tells fictional stories of regular people pursuing personal research, Monica Bill Barnes and Company invades the New York Public Library.
Gibney Company brings an uneven trio of new works to the Joyce: a deft premiere by Childs and dances by Roy Assaf and Peter Chu.
A member of Merce Cunningham's final company, Toogood brings to the job years of experience as a dancer and educator.
"There's a time for everything," said Farrell, who has returned to New York City Ballet to teach a new and eager generation of dancers.
The choreographer Reggie Wilson premieres his latest, "The Reclamation," a stark, formal dance for seven, at NYU Skirball.
Two of the art form's best join forces in a program curated by Mearns at City Center that features a new work by Roberts, "Dance Is a Mother."
