Critic’s Notebook
Dancing, With Alvin Ailey’s Spirit Lurking in the Shadows
The performance portion of “Edges of Ailey” at the Whitney Museum of American Art was best when it stepped away from tradition.
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Dance
Highlights
CreditMaria Baranova Miami City Ballet’s Artistic Leader to Step Down After 13 Years
Lourdes Lopez, who championed contemporary ballets and elevated the company’s profile, is departing two years before her contract expires.
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CreditScott McIntyre for The New York Times - Critic’s Pick
Review: The War Is Never Over in This Epic-Inspired Dance
“Gigenis,” drawn from a tale in the Mahabharata, is the choreographer Akram Khan’s most potent work in years.
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CreditRachel Papo for The New York Times She Keeps ‘The Lion King’ in Motion
“Everything in the show moves,” said Ruthlyn Salomons, whose job for 25 years has been to oversee all the parts, people and puppets of this kinetic musical.
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CreditGraham Dickie/The New York Times
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Speaking in Dance
More in Speaking in Dance ›A Star Ballerina Steps Into an Art Gallery
Sara Mearns’s long lines, from her feet to her expressive fingers, come to exquisite life in this duet, choreographed by Jodi Melnick.
CreditMohamed Sadek for The New York Times Watch Three Dancers Pony Step Into the Sunset
A jaunty trio prances across the stage in Pam Tanowitz’s new work for Little Island.
CreditMohamed Sadek for The New York Times 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 Alvin Ailey’s Silky Creatures of the Night
Two dancers from the Ailey company perform part of “Night Creature” on the roof of the Whitney Museum, where the choreographer is the subject of a major exhibition.
By Gia Kourlas and
CreditMohamed Sadek for The New York Times
A Night at the Donald J. Trump Center for the Performing Arts
It’s still called the Kennedy Center. But after President Trump’s takeover, drag performers protested outside while audience members inside worried about what might be in store.
By Shawn McCreesh
In Major Expansion, Martha Graham Dance Company Will Move to Midtown
The acclaimed troupe will relocate to a Times Square tower, more than doubling its footprint, and building six new studios.
By Javier C. Hernández
The N.E.A.’s New Gender and Diversity Edicts Worry Arts Groups
As the National Endowment for the Arts adjusts to comply with President Trump’s executive orders, “gender ideology” is out and works that “honor the nation’s rich artistic heritage” are in.
By Michael Paulson
After 25 Years of Triumphs and Troubles, a Ballerina Bids Farewell
Ashley Bouder, the longtime New York City Ballet principal, is leaving with a final performance in “Firebird.”
By Gia Kourlas
A Dark Tale for a Dark Time, Told Through Indian Classical Dance
The choreographer Akram Khan’s “Gigenis,” based loosely on a character in the Mahabharata, represents a kind of homecoming for him.
By Marina Harss
Critic’s pickReview: Worlds Collide to Make a Big Ballet Bang
Alexei Ratmansky creates a joyful new “Paquita” for New York City Ballet, giving the dancers a classical frame in which to find new versions of themselves.
By Gia Kourlas
Critic’s PickReview: Getting to the Essence of Camille A. Brown’s Artistry
With “I AM,” Brown takes her signature interweaving of African diasporic dance forms to new heights.
By Siobhan Burke
This Choreographer Is Sending Love Letters to His Dance Heroes
The dance humor in Christopher Gattelli’s shows, like “Schmigadoon!” and “Death Becomes Her,” is underpinned by affection for musical theater and its excesses.
By Margaret Fuhrer
Stephen Petronio Is Disbanding His Dance Company
The company, founded in 1984, has struggled with finances since the pandemic.
By Brian Seibert
A New ‘Paquita’ Is an Echo Chamber of Ballet History
Alexei Ratmansky’s “Paquita” brings Marius Petipa’s 19th-century style to New York City Ballet through two lenses: his own and George Balanchine’s.
By Elizabeth Kendall
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