382 stories by "Gia Kourlas"
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.
Once a young bunhead, the acclaimed musical artist is taking the stage with the Martha Graham Dance Company. For her, this is holy grail territory.
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 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.
Under the artistic leadership of Emily Molnar, Nederlands Dans Theater returned to New York City Center with a less than stellar triple bill.
The Trisha Brown Dance Company returned to the Joyce Theater with an enthralling premiere by the French choreographer Noé Soulier.
Mark Morris's "The Look of Love" at the Brooklyn Academy of Music is uneven, but you can't fight its swing.
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.
Robert Garland, Dance Theater's new artistic director and longtime resident choreographer, presides over his first season at New York City Center.
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 choreographer's contemplative "Deep River," performed by Lines Ballet at Lincoln Center's Rose Theater, swims along, brimming with hope and love.
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 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.
For her latest program at the Joyce Theater, the one-of-a-kind choreographer showcases two new dances, along with a revival of "Ocean's Motion."
The current season of "The Real Housewives of Beverly Hills" meets Merce Cunningham in an incongruous mash-up of reality TV and modern dance.
Peck's choreographic debut for the company, the lively "Concerto for Two Pianos," shares the spotlight with Alexei Ratmansky's mysterious, wonderful "Odesa."
Chita Rivera saw herself as a dancer, and that's fitting: Her early ballet training was her secret weapon " and it never left her body.
At Japan Society, "Nihon Buyo in the 21st Century," a rare showcase in New York of this style of Japanese dance, forges a link between the past and present.
At Japan Society, "Nihon Buyo in the 21st Century," a rare showcase in New York of this style of Japanese dance, forges a link between the past and present.
As part of Under the Radar, Nile Harris resurrects his play that weaves together text, sound, minstrelsy and dance to explore the American experience.
Over the past year, dance has shown its broader worth, from stage to film, #balletcore to music videos, TikTok tutorials to movement classes.
"A Dewdrop is a drop of dew," India Bradley said. "So can't anyone do it?" She and the guest artist Alexandra Hutchinson perform the role in "George Balanchine's The Nutcracker."
