Dance Review | 'dumb dumb bunny': In Every Twitch, a Transformation of the Ordinary
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The piece offers a notable transformation of physical detail into a persuasive choreographic metaphor for the loss of self.
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Ariel Schulman is making a film about sex, violence, racism, teenage angst and also ballet, which to some sounds much more intimidating.
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âJerry Springer: The Operaâ  uncovers something grand within the small, squalid lives it portrays.
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A close look at American Ballet Theaterâs flashy production of âSwan Lakeâ tells you a lot about its spring season.
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JÃ©rÃ´me Belâs clever, funny negotiation of the line between the ordinary and the theatrical has made him a cult figure on the European dance scene for the last decade.
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There was very little that could be called pioneering or avant-garde about the program presented by Kim Robards Dance on Friday night at the Joyce SoHo.
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Many bright little ideas punctuate Peter Martinsâs ballet of âRomeo and Julietâ for New York City Ballet.
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The Anupam Kher-starrer is a pleasure to watch, if only for the choreography.
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By IRIS FANGER  Modern dance choreographer, scientist, and explorer of the space we inhabit, Elizabeth Streb is a descendant from Icarus in the long line of humans who have wanted to fly.
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In her latest program, Neta Pulvermacher reveals not just a trilogy of dances, but also three sides of the choreographer herself.
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Arts & entertainment: Visionary choreographer Mark Morris used to think Mozart and dance didn't mix. Not any more, finds Judith Mackrell.
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Your endorphins give a little jump just looking at the set of David Neumannâs âfeedforward,â which opened on Tuesday at Dance Theater Workshop.
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Thereâs a lot going on in Company So Go Noâs âArt of Memory,â a 50-minute dance-theater romp conceived and directed by Tanya Calamoneri that spans several continents and decades in source materials alone.
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When watching Jay Sternâs digital video adaptation of the 1622 play âThe Changeling,â you have to imagine a more detailed world beyond the bare-bones visuals.
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American Ballet Theater, which has shown Balanchine and Ashton choreography over the years, is now presenting a double bill of their ballets, short in duration, rich in substance.
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Precious vacuity ruled in this latest installment of an august showcase devoted to choreography by emerging artists.
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For a new evening of work, the choreographer Colleen Thomas struck out on her own to produce a pair of dances vastly different in tone but similar in their adherence to binding structure and exacting details.