Dance

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.