334 stories by "Gia Kourlas"
With a premiere by Tiffany Tregarthen and David Raymond at the Joyce, Gibney Company builds on its repertoire but doesn't enhance it.
After 15 years, New York City Ballet revives "Brandenburg," the choreographer's final ballet, with a sparkling new cast.
The choreographer Miguel Gutierrez presents the New York premiere of "I as another," a duet with Laila Franklin, at Baryshnikov Arts Center.
Harrison Ball is retiring. After battling addiction, he is engaged to Zac Posen, serious about acting and grateful for his career.
The choreographer collaborates with the designer Mimi Gross in "Garden Party," a whimsical celebration of spring that hints at loss.
The Trisha Brown Dance Company branches out beyond its founder's work with its first commission: Judith Sánchez RuÃz's "Let's Talk About Bleeding."
The company presented two large-scale works, one inspired by the French protests of 1968, and the other a response to a lost Merce Cunningham work, at NYU Skirball.
As artistic director, Johnson, a pathbreaking ballerina, helped get the company back on its feet after a hiatus. Now, she's ready to be an artist again.
Ananiashvili's company, the State Ballet of Georgia, presents a program of works by George Balanchine and Yuri Possokhov at the Lehman Center in the Bronx.
With new books and a podcast taking another look at the legacy of George Balanchine and the culture of ballet, where does a modern ballerina stand?
Abraham and his company, A.I.M, returned to the Joyce Theater with a program of mixed repertory, including new dances and a Bebe Miller solo.
The company returned to New York City Center with recent works by Crystal Pite and David Dawson, along with a vintage offering by Kenneth MacMillan.
In "The Invisible Project," a premiere at NYU Skirball, the choreographer Keely Garfield's work as an end-of-life and trauma chaplain informs the dance.
Tanztheater Wuppertal returns to the Brooklyn Academy of Music for the first time in six years with "Ãgua," a long, whimsical work from 2001.
The company wrapped up its season with two weeks of Peter Martins's "The Sleeping Beauty," a flurry of debuts and four promotions.
Signaling the arrival of ballet's next generation, the soloists Emilie Gerrity, Isabella LaFreniere, Roman Mejia and Mira Nadon move up.
Women's empowerment is the undercurrent of the winter season at New York City Ballet. Does it have a place in Americana?
Cullberg, a contemporary Swedish company, makes its Joyce Theater debut with Deborah Hay's delicate, hypnotic "Horse, the Solos."
Kyra Nichols, a former principal, returns to the company for the first time since her 2007 retirement to coach ballets by Balanchine and Robbins.
New York City Ballet's resident choreographer expands on "Rodeo" to make an evening-length work set to some of Aaron Copland's most popular music.
Ronald K. Brown/Evidence returns to the Joyce Theater with two hits, "Open Door" and "Grace," and a New York premiere with music by Jason Moran.
Septime Webre's rendition of the tragic tale for Hong Kong Ballet this weekend at New York City Center had a striking look, but its dancing lacked vulnerability.
In "Curriculum II," dancers spin like planets as they grapple with the mind, the body and technology.
When the choreographer joins the company as artist in residence, the winners will be the dancers. And ballet.
In "George Balanchine's The Nutcracker," performed by City Ballet and young students from its School of American Ballet, ballet comes full circle.
