Dance Review

After an absence of more than a decade, the Royal Danish Ballet returns to the Jacob’s Pillow Dance Festival.

American Ballet Theater’s production of Marius Petipa’s ballet brings the world of 1900 into our time.

New York City Ballet’s program honoring the iconic choreographer’s centenary features some of his best known pieces as well as new works that don’t seem likely to garner a place in dance history.

The contemporary dance troupe’s program of world premieres is impressive artistically and theatrically.

Flamenco Festival 2018 kicked off with Ballet Nacional de España performing a 12-part sampler of music and dance from southern Spain.

After scandal rocked the troupe, New York City Ballet presents a winter season that includes both performances that seem under-rehearsed and showings of impressive accomplishment and fine artistry.

The Joyce Theater’s third American Dance Platform has been uneven so far.

Tap-dominated moves and the music of Fats Waller feature in choreographer, dancer and MacArthur Award winner Michelle Dorrance’s new season.

Miami City Ballet’s new production of Balanchine’s festive work freshens its costumes and sets while retaining the legendary choreographer’s direction and dancemaking.

The dance legend with close ties to Balanchine closes her company after 16 years with stagings from her mentor’s canon.

A bewitched pair of ballet slippers take center stage in Matthew Bourne’s production about vanity and the power of creativity.

The company’s fall season focuses on one-act ballets, largely absent of scenery and story, meant to emphasize the poetics of pure dance.

The New York City Ballet’s annual Fall Fashion Gala pairs designers and choreographers in a series of eye-catching performances.

At the Joyce, the world premiere of Twyla Tharp’s suite set to the music of Bob Dylan.

The double bill of pieces by Pina Bausch (1940-2009) now being performed at BAM repeats the program that first brought her work here in 1984.

In Madison Square Park, Josiah McElheny’s sculptural installation serves as a backdrop for choreographic works by Rashaun Mitchell, Silas Riener, Netta Yerushalmy and others.

The programs by Emery LeCrone Dance, Claudia Schreier & Company, Cirio Collective, Gemma Bond and Amy Seiwert’s Imagery featured many dancers and several big names, but the works themselves were less than stellar.

At the Lincoln Center Festival, George Balanchine’s three-act work was a glittering collaboration of the Paris Opera Ballet, the Bolshoi Ballet and the New York City Ballet