At American Ballet Theater, a New Swan Takes Flight
The rise of the soloist Chloe Misseldine is part of the artistic director Susan Jaffe’s master plan: Start them young and give them time to grow.
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Dance
Highlights
CreditKristina Dittmar for The New York Times - Critic’s Notebook
A New Principal Takes Her Bow at American Ballet Theater
After a tremendous “Swan Lake” performance, Chloe Misseldine was promoted onstage at the Metropolitan Opera House. The audience went nuts.
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CreditEmma Zordan Mikhail Baryshnikov on Leaving Everything Behind
Fifty years ago, Baryshnikov defected from the Soviet Union. He discusses that day, the war in Ukraine and the challenges facing Russian artists today.
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CreditErik Tanner for The New York Times There’s Trouble Right Here in Tap City
Tap festivals have been pivotal in passing on tradition. But New York’s has been canceled and the institution that supports it faces an uncertain future.
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CreditRicky Rhodes for The New York Times
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Speaking in Dance
More in Speaking in Dance ›Watch a Sisterhood of Budding Ballerinas
Five students from the School of American Ballet perform an excerpt from George Balanchine’s classic “Serenade.”
CreditMohamed Sadek for The New York Times Watch a Tap Dance That Transcends Time
For her improvised solo to Max Roach and Cecil Taylor, Ayodele Casel said “the way in is to honor what you’re hearing.”
CreditFletcher Wolfe for The New York Times Click through as Joseph Gordon performs a section from Alexei Ratmansky’s new dance for New York City Ballet, a reaction to the horrors of the war in Ukraine.
By Gia Kourlas and
CreditStephan Alessi for The New York Times Watch Martha Graham’s Dance of Empowerment
In 1936, Graham choreographed this scorching response to the rise of fascism.
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CreditMohamed Sadek for The New York Times Rugged, Physical Work With Durability
In Abby Zbikowski’s “Radioactive Practice,” a dancer says, “You’re seeing survival and community in real time.”
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CreditRudolf Costin for The New York Times
30 L.G.B.T.Q. Artists Look Back on the Pleasures and Pain of Being 30
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.
By Nicole Acheampong, Max Berlinger, Jason Chen, Kate Guadagnino, Colleen Hamilton, Mark Harris, Juan A. Ramírez, Coco Romack, Michael Snyder and John Wogan
‘Woolf Works’ Review: A Literary Ballet’s Missteps
Wayne McGregor’s 2015 work, making its New York debut with American Ballet Theater, fails to make dance poetry of Virginia Woolf’s novels.
By Brian Seibert
Critic’s NotebookAt Montpellier Danse, Leaning Into New Work as the Void Looms
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.
By Roslyn Sulcas
Virginia Woolf, but Make It a Polyphonic, Sensory Ballet
American Ballet Theater brings Wayne McGregor’s “Woolf Works,” which evokes elements of three novels and the writer’s biography, to New York.
By Joshua Barone
Critic’s NotebookAt the Royal Ballet, Taking the Measure of Ashton’s Genius
Many remarkable performances fueled the Royal’s mini-festival of ballets by Frederick Ashton, the company’s founding choreographer.
By Roslyn Sulcas
The Brooklyn Academy of Music Announces Its Next Wave, and Next Steps
BAM, which has faced cutbacks in recent years, unveiled a reorganization as it announced its Next Wave Festival for the fall.
By Annie Aguiar
Critic’s SpotlightWith the Help of Whales, a Choreographer Falls Into an Abyss
Mayfield Brooks explores grief and decomposition in the hull of a 19th-century cargo ship.
By Gia Kourlas and Simbarashe Cha
A Palestinian American Choreographer’s Intimate, Epic ‘Gathering’
Samar Haddad King’s premiere at the Shed tells a layered story of trauma, dislocation and resilience.
By Candice Thompson
‘Cats’ Returns, Ditching the Junkyard for Queer Ballroom
As part of a wave of reimagined Andrew Lloyd Webber musicals, a new revival of “Cats” unfolds as a ballroom competition.
By Joshua Barone
Review: Camille A. Brown Still Holds the Harlem Stage
It was a sign of her generosity that her program this weekend was almost all work by her associates.
By Brian Seibert
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