Dance

The best dance by far on Smuin Contemporary Ballet’s program at the Joyce is by Amy Seiwert, who is about to be the company’s director.

After a tremendous “Swan Lake” performance, Chloe Misseldine was promoted onstage at the Metropolitan Opera House. The audience went nuts.

Fifty years ago, Baryshnikov defected from the Soviet Union. He discusses that day, the war in Ukraine and the challenges facing Russian artists today.

For Pride Month, we asked people ranging in age from 34 to 93 to share an indelible memory. Together, they offer a personal history of queer life as we know it today.

Wayne McGregor’s 2015 work, making its New York debut with American Ballet Theater, fails to make dance poetry of Virginia Woolf’s novels.

The festival, the final one for its longtime director, started with a bravura work by Wayne McGregor that was at once otherworldly and deeply human.

American Ballet Theater brings Wayne McGregor’s “Woolf Works,” which evokes elements of three novels and the writer’s biography, to New York.

Many remarkable performances fueled the Royal’s mini-festival of ballets by Frederick Ashton, the company’s founding choreographer.

BAM, which has faced cutbacks in recent years, unveiled a reorganization as it announced its Next Wave Festival for the fall.

Mayfield Brooks explores grief and decomposition in the hull of a 19th-century cargo ship.

Samar Haddad King’s premiere at the Shed tells a layered story of trauma, dislocation and resilience.

As part of a wave of reimagined Andrew Lloyd Webber musicals, a new revival of “Cats” unfolds as a ballroom competition.

It was a sign of her generosity that her program this weekend was almost all work by her associates.

New York City Ballet wrapped up its 75th anniversary celebration at Lincoln Center this spring with a look to the future. But it didn’t always speak to it.

Ashley R.T. Yergens’s “Surrogate,” premiering at New York Live Arts this week, explores how trans men experience pregnancy and I.V.F.

“We have to really become creative about everything we do,” said Jaffe, as the company works to address financial woes and carve a modern identity.

Andy Cohen, Fran Lebowitz and hundreds more gathered at Little Island, Barry Diller’s one-of-a-kind park on the Hudson River, for a new dance performance by Twyla Tharp.

Benjamin Millepied, an organizer of La Ville Dansée — a daylong event in Paris and its environs — wants “to tell the invisible stories of the city.”

The choreographer’s “Navy Blue” is the rare work to express the emotions of life in pandemic lockdown.

Zack Winokur, an ambitious dancer-turned-director, now has a New York stage to call his own as the park’s artistic leader.

Leading off the summer season at Little Island in Manhattan, the choreographer presents “How Long Blues,” with T Bone Burnett and David Mansfield.

Mira Nadon, the rising New York City Ballet principal, is coming off her best season yet. And it’s only the beginning.

The choreographer Florentina Holzinger’s shows feature circus performers and abundant nudity. Now, she’s bringing her experimental approach to opera.

Shay Latukolan, who has worked with Jungle and Childish Gambino, creates choreography so infectious that everyone thinks they can dance along.

The La MaMa Moves! Dance Festival 2024 featured a high ratio of talking to dancing.

As Ballet Tech, a tuition-free public school, prepares for its Joyce season, Dionne Figgins teaches the students to see the big picture of their art form.

Videos of parents demonstrating their moves have been a surprise hit on a site where youth rules — perhaps because the trend isn’t played for laughs.

Raja Feather Kelly makes his playwriting debut with a spellbinding story of three generations of Black men at Soho Rep.

A couple with deep ties to the popular Brooklyn festival and its founder and longtime artistic director, Chuck Davis, recall when their wedding was part of the show.

Tamara Rojo, the company’s new artistic director, has a vision of ballet as for the people — all the people — with dances that reflect our world.

“I love older theaters in particular,” said the actress, who is up for her third Tony for “Cabaret.” “The new ones don’t have as many ghosts.”

For its Joyce season, the company unveils “Juke,” a spiky premiere by Jamar Roberts, along with dances by David Parsons and Penny Saunders.

The choreographers nominated for Tony Awards this year have a broader vision than usual of the possibilities of dance in theater.

The Gibney Company’s program at the Joyce Theater includes two Twyla Tharp dances from the 1970s.

Fresh Tracks, at New York Live Arts, showcases early-career dance makers. This year’s talented crop wonders about next steps.

A founding dancer with the groundbreaking company, she served not only as a principal dancer but also as its first ballet mistress.

Carol Mullins, who has been lighting boundary-pushing shows at Danspace Project since the 1970s, will be honored at its 50th anniversary.

The two premieres — one by Justin Peck, one by Amy Hall Garner — were gala-style pieces that felt more fresh than rote.

With choreography by Kate Prince and 27 songs by Sting, this story of refugees has impressive dance moments, but handles narrative and emotion tritely.

As Black roller skaters from around the country bring their styles to the city, some locals look for space to preserve the moves Atlanta is known for.

In “Message in a Bottle,” a dance show opening at City Center, Sting’s songbook helps tell the story of a family fleeing conflict.

Eduardo Vilaro celebrates his 15th year as artistic director of Ballet Hispánico with a premiere exploring the life of the Afro-Hispanic artist.

The spring season at New York City Ballet opened with an all-Balanchine program and a vintage miniature from 1975: “Errante,” staged for a new generation.

In “Searching for Goya,” at the Joyce Theater, the troupe uses the painter’s images as frames for flamenco dances.

Stanislav Olshanskyi has had to battle homesickness and adjust to Miami City Ballet’s style: quick, light, constantly in motion. He’s also the prince in “Swan Lake.”

Under the banner “American Legacies,” the Martha Graham Dance Company dusted off a classic, “Rodeo,” premiered a companion piece and welcomed FKA twigs for a guest solo at City Center.

Two dancers from the Russian company were set to perform at a benefit for a prestigious competition for young dancers, but they were sidelined after protests by pro-Ukrainian activists.

Living with a disability, I shielded myself from dance. Then I met him.

Advice on quashing doubt and maximizing procrastination, according to Joan Baez, Kim Gordon, Bill T. Jones and Myha’la.

This season’s beginners, from Ice Spice to Tyla to Sarah Pidgeon.

The Sydney Dance Company’s “ab [intra]” at the Joyce Theater is impressive but chilly.

Once a young bunhead, the acclaimed musical artist is taking the stage with the Martha Graham Dance Company. For her, it’s holy grail territory.

He brought worldwide attention to a radical yet elemental form of contemporary dance that emerged in the wake of wartime destruction.

New York City Ballet will present a mix of old and new works, including premieres by Justin Peck, Alexei Ratmansky and Caili Quan, and introduce fewer intermissions.

As Harlem Stage’s E-Moves dance series turns 25, Bill T. Jones and other major choreographers discuss its impact on Black dance in New York.

The company performed its first New York City Center season under the direction of Robert Garland in a program including George Balanchine’s “Pas de Dix.”

In “Nail Biter,” a New York City premiere, this exacting choreographer explores her ballet roots and how to be in her body now.

The pandemic was tough on city centers and cultural institutions. What does that mean for Los Angeles, whose downtown depends on the arts?

The choreographer Dianne McIntyre presents ��In the Same Tongue,” a dance she calls “an artistic history of myself,” at the new Apollo Stages at the Victoria Theater.

“We the People,” Roberts’s first dance for the Martha Graham Dance Company, finds the rage and resistance hidden in an upbeat score by Rhiannon Giddens.

Under the artistic leadership of Emily Molnar, Nederlands Dans Theater returned to New York City Center with a less than stellar triple bill.

Ayodele Casel leads a program celebrating Roach’s centenary that also includes works by Rennie Harris as well as by Ronald K. Brown and Arcell Cabuag.

Benjamin Millepied and Nico Muhly’s evening of minimally accessorized dance and contemporary music feels right at home at the Philharmonie in Paris.

As the second company of Alvin Ailey American Dance Theater has evolved, it has trained dancers and choreographers for tenacity as much as technique.

In “Until the Lion Tells the Story…,” Lacina Coulibaly walks in his ancestors’ footsteps.

The choreographers Baye & Asa usher the Sphinx puzzler into a vaguely menacing landscape.

The Trisha Brown Dance Company returned to the Joyce Theater with an enthralling premiere by the French choreographer Noé Soulier.

A new work, “The White Feather” is inspired by the history of the Iranian National Ballet, which went dark during the Islamic Revolution and was never revived.

The performer stopped dancing after the death of her husband, Stephen Boss. Now she’s a judge on “So You Think You Can Dance,” the show where they met.

A new production of the ballet sets it in 1930s Hollywood instead of a mythic India, eliminating Orientalist clichés while embracing American ones.

With the singer Harry Belafonte, she was half of a celebrated, and sometimes denounced, interracial power couple who pressed the cause of civil rights in the 1960s.

Mark Morris’s “The Look of Love” at the Brooklyn Academy of Music is uneven, but you can’t fight its swing.

The production will make its transfer unusually fast, with an opening set for April 24, just 29 days after it wraps up a sold-out run at the Park Avenue Armory.

The choreographer, who has spent her career mixing genres and disciplines, comes to ballet with an eye on its sometimes calcified gender relations.

At City Center, performers like Olga Pericet and Manuel Liñán knew the rules they were bending.

Gayli, a dance night at a Brooklyn bar, provides a welcoming atmosphere for Irish dancing.

Barry Hughson, a leader at the National Ballet of Canada, will join the company as it tries to get beyond financial woes.

Hubbard Street Dance Chicago presents the first of two programs at the Joyce Theater, including a sparkling New York premiere by the hip-hop choreographer Rennie Harris.

Justin Peck, who directs and choreographs a narrative dance musical to Sufjan Stevens’s concept album “Illinois,” resorts to his usual standby: community.

New works, by Alexei Ratmansky and Tiler Peck, and revivals brought solace and sadness, beauty and humor — and full-out, thrilling dancing this winter season.

Pontus Lidberg’s “On the Nature of Rabbits” at the Joyce Theater is a dance haunted by AIDS.

In Ursula Eagly’s “Dream Body Body Building” at the Chocolate Factory, the dancers seem to be transmitting a dream state to the audience.

Hussein Smko’s encounter with an American soldier in Iraq led him to become a dancer. This week he performs in Pontus Lidberg’s work at the Joyce Theater.

Imaginative dance abounds in Hollywood, but its creators remain unheralded at awards time.

Olga Pericet’s “La Leona” and a dance panorama by Ballet Nacional de España look to the past, with an eye to recovery and invention.

The Afro-Colombian company Sankofa Danzafro presents “Behind the South: Dances for Manuel” at the Joyce Theater.

This narrative dance musical, set to Sufjan Stevens’s album, is a coming-of-age story and a meditation on death, love, community, politics and zombies.

The institution co-founded by George Balanchine celebrated at Lincoln Center on Monday night.

With Judson Dance Theater and as the founder of contact improvisation, he expanded the possibilities of what dance could be, developing works around basic tasks like walking.

Robert Garland, Dance Theater’s new artistic director and longtime resident choreographer, presides over his first season at New York City Center.

“Deep River,” featuring the choreographer’s company, Lines Ballet, has a meditative flow without much grit.

The choreographer Anne Teresa De Keersmaeker teams up with the pianist Pavel Kolesnikov for a new production of the Bach masterpiece at N.Y.U. Skirball.

The summer’s Vail Dance Festival features Mearns, the New York City Ballet star, and the choreographer Roberts.

“The Notebook” and “Cabaret” land on Broadway. Olivia Rodrigo’s tour stops in Manhattan. Plus: Herbie Hancock, Heartbeat Opera and Trisha Brown Dance Company.

The choreographer’s contemplative “Deep River,” performed by Lines Ballet at Lincoln Center’s Rose Theater, swims along, brimming with hope and love.

Jean Butler’s “What We Hold,” at the Irish Arts Center, is an installation-like work that seeks restrained classicism in a post-“Riverdance” world.

In “Solitude,” a stellar, haunting work that had its premiere on Thursday, New York City Ballet’s artist in residence brings a photograph to life.

The transformative contribution, from an anonymous donor, is the largest in the company’s 91-year history and one of the biggest ever to an American dance group.

Her program at the Joyce Theater features an extroverted dance from 1975 and two new works: an introspective solo to Jacques Brel and an antic look at a choreographer creating.

The nonbinary dancers Ashton Edwards and Taylor Stanley made history in their magnetic performance of Justin Peck’s “The Times Are Racing” at New York City Ballet.