Dance

Highlights

Critic’s Pick
Review: Dancing Out ‘Goldberg’ With a Nod to John Travolta
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.
By Gia Kourlas
CreditAndrea Mohin/The New York Times
Critic’s Pick
Review: Alexei Ratmansky Unleashes the Pain of War at City Ballet
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.
By Gia Kourlas
CreditAndrea Mohin/The New York Times
1. Review: Flowing Along in Alonzo King’s Current
  “Deep River,” featuring the choreographer’s company, Lines Ballet, has a meditative flow without much grit.
  By Brian Seibert
  CreditRichard Termine
2. Twyla Tharp: ‘You Dig Down, You Settle in, You Don’t Stop’
  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.”
  By Gia Kourlas
  CreditJulieta Cervantes for The New York Times

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Watch Martha Graham’s Dance of Empowerment
In 1936, Graham choreographed this scorching response to the rise of fascism.
By Gia Kourlas
CreditMohamed Sadek for The New York Times
Where Subway Dancers Practice Their Art
“You are the center of your own world. Any space is important,” the Congolese choreographer Faustin Linyekula told members of It’s Showtime NYC.
By Gia Kourlas
CreditShawn Brackbill for The New York Times
How the Rockettes Fall Like Dominoes
Dancers fall. Sometimes, it’s intentional.
By Gia Kourlas
CreditAdam Golfer for The New York Times
When a Ballerina Gets to Be Goofy
“Ballerinas never crash,” said Lauren Lovette, but, “I love falling to the floor.”
By Gia Kourlas
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.”
By Gia Kourlas
CreditRudolf Costin for The New York Times

Sara Mearns and Jamar Roberts to Be Resident Artists at Vail
The summer’s Vail Dance Festival features Mearns, the New York City Ballet star, and the choreographer Roberts.
By Roslyn Sulcas
Live Performance in New York: Here’s What to See This Spring
“The Notebook” and “Cabaret” land on Broadway. Olivia Rodrigo’s tour stops in Manhattan. Plus: Herbie Hancock, Heartbeat Opera and Trisha Brown Dance Company.
Alonzo King Wants to Wake Up the World With Ballet
The choreographer’s contemplative “Deep River,” performed by Lines Ballet at Lincoln Center’s Rose Theater, swims along, brimming with hope and love.
By Gia Kourlas
Review: A Former ‘Riverdance’ Star Reclaims Irish Heritage
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.
By Brian Seibert
With $60 Million Gift, San Francisco Ballet Plans Focus on New Works
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.
By Javier C. Hernández
Critic’s Pick
Review: Twyla Tharp From Three Sides Now
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.
By Siobhan Burke
Critic’s Spotlight
Together ‘There Was Magic’: Two Fluid Dancers in Our Racing Times
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.
By Gia Kourlas
Jean Butler Choreographs the Past and Future of Irish Dance
In “What We Hold” at the Irish Arts Center, the “Riverdance” star turned contemporary choreographer returns to Irish dance with an inquiring lens.
By Marina Harss
‘Kill B.’ Review: Dances of Dominance
In this work, inspired by Quentin Tarantino’s “Kill Bill” films, Croatian performers address the fraught director-actress relationship at its core.
By Siobhan Burke
A War-Haunted Choreographer Steps Into a New Role at City Ballet
Alexei Ratmansky, arguably the most important ballet choreographer today, has made a deeply personal first work as artist in residence that reflects his Ukrainian roots.
By Marina Harss