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Moments of great poignancy and imagination, splendid dancing, and some missed opportunities in Christopher Wheeldon’s Oscar for Australian Ballet which came to New York City Center last week.

Flamenco, tap and contemporary from Spain, the U.K. and Israel on offer in Program 3 at Fall for Dance yielded a provocative work, a display of virtuosity and the inevitable clunker. 

The opening program of Fall for Dance reflected the diversity of styles and world-class dancing on display at this year’s festival.

Hugo Marchand curated and performed in an essentially French mixed bill along with Dorothée Gilbert, Léonore Baulac and Germain Louvet from Paris Opéra and the excellent ensemble of Béjart Ballet Lausanne. 

In a tremendous triple bill at New York City Center, Martha Graham’s genius and Janet Elber’s stewardship of the company into the 21st century deserve to be celebrated, loudly. 

Alvin Ailey American Dancer Theater is in magnificent form for its New York City Center season. Never overselling, simply moving magically.

Dutch National Ballet's second mixed bill at New York City Center ticked all the right boxes, showcasing the depth of talent across the whole company.

Dutch National Ballet returning to New York after more than 40 years should have been thrilling. The opening program, whilst beautifully danced, was somewhat muted.

Much acclaimed in 2022, a mixed bill curated by Tiler Peck returns to New York City Center with new cast members.  

Hofesh Shechter's Red Carpet for Paris Opera Ballet offered brief harrowing elements in an otherwise tiresome evening, though the music, also by Shechter, was tremendous.

A very diverse mixed bill for Fall for Dance showed some top notch dancing though it was not entirely successful choreographically.

A perfect triple bill became a less perfect quadruple bill. Brilliant performances by dancers from Gibney, kNoname Artist, Paris Opera étoiles rarely seen in New York and – a rarity these days – live musicians. 

At the New York City Center, where founder Arthur Mitchell became a star, Dance Theatre of Harlem delivered a diverse program of works by Balanchine, Forsythe, Garland and Jodie Gates.

New York City Ballet's Sara Mearns proves that she is a natural contemporary dancer in a self-curated double bill.

Despite my reservations about Diabelli, there is no doubt Twyla Tharp is one of the most inventive, adventurous voices in dance still (and she's 83). She deserves her flowers.

Alter Ego – an exhilarating and mesmerizing display of flamenco dancing and music.

An era has come to an end at Alvin Ailey American Dance Theater, its repertory in admirable shape, its dancers even more so. 

There is no modern dance troupe as likeable as the Alvin Ailey American Dance Theater. Their dancers are warm, exciting and beautiful to watch and they never fail to please audiences.

A new work full of meaning in Fall for Dance's second mixed bill dominated the performance.

A startling, provocative contrast between two works in the Fall for Dance Festival opening program this season. And glimpses of Aran Bell when he's not being princely.

Whether it’s the manifold charms of the featured performers or the well-mixed tape of Sting’s music, you’d have to be made of stone not to be moved.

Martha Graham Dance Company never disappoints. Especially good is her version of The Rite of Spring with Stravinsky's score played live.

NDT delivered, yet the triple-bill program never elevated itself beyond atmosphere and gimmicks.

Crystal Pite’s Angels’ Atlas offers a strange closer for the NBC's program in their brief run at New York City Center.

The finale had Osipova wrapping herself in the area rug like a mummy and rolling on the stage floor. It wasn’t even a guilty pleasure. It was just bad.

Both In the Upper Room and Nine Sinatra Songs captivate at moments; however, they comment more on who we were than who we have become.

PTDC really returned in a weeklong residence at City Center and the company looks to be in good overall shape.

New York City Center’s annual Fall for Dance festival heads online in a pair of programs, one much stronger than the other. 

It was worth the price of admission just to see the ebullient revival of Geoffrey Holder’s Dougla.

Taken at face value and ignoring its shortcomings, The Red Shoes still succeeds as entertainment.

This was a terrific performance by a world class troupe of dancers.

Damian Woetzel puts together programs, musicians and dancers with a creative curator’s eye and gets the most out of the new combinations. This show was great.

On this opening night of el Farruquito's return engagement he turned in a terrific performance that brought down the house.

If there’s no surefire, bankable star without Körbes then there is more time to reflect on some of Pacific Northwest Ballet's other wonderful dancers.

A farewell tour by a legend is an opportunity for her to give thanks to her fans and for us to signal our appreciation for a career that spanned thirty-five astonishing years.

The fifth program of City Center's 12th annual Fall for Dance Festival had something for everyone and it was all good.

Program 3 captures the multiplicity in contemporary dance.  

New York City Center's Fall for Dance Festival opens with performances by Miami City Ballet, L.A. Dance Project, Doug Elkins Choreography, etc. and Che Malambo

The superstar pairing of Natalia Osipova and Ivan Vasiliev lost some luster on this trip to New York with some weak material.

Under the direction of Heiner Goebbels, Ensemble Musikfabrik’s twenty-two multifaceted percussionist-vocalist-actor musicians executed an industrious performance of Partch’s magnum opus, The Delusion of the Fury.

New York City Center's 11th annual Fall for Dance Festival's program four reaches out to new audiences with a unique program. 

Program Two of the Fall for Dance festival , at New York City Center, is an ionic choreographers' digest. With works by Child's, Forsythe (For Semperoper Ballet Dresden) Ramirez -Wang and Naharin (for Alvin Ailey American Dance Theater).

Fall for Dance's Program One features Black Grace, San Francisco Ballet, Russell Maliphant's choreography and the Mark Morrids Dance Group. A mixed bag, with Morris's Words the lovely cherry on the top!

Alvin Ailey American Dance Theater's mixed program showcases three beautiful works at New York City Center.

Henri Bergson famously defined comedy as “something mechanical encrusted on the living”. One suspects that Jacques Offenbach would have been a fan of this definition, and that Christopher Alden most certainly is.

In recent seasons, the New York City Opera has largely limited itself to chamber operas. Its newest production marks a renewed ambition: Rossini’s Mosè in Egitto, a proto grand opera that ends with nothing less than the parting of the Red Sea.

To be explicit, Ballet Flamenco de Andalucía is explosive. But to describe this show as just a dance performance would be negligent. The absolute power radiating from City Center’s stage this week comes not only from the dancers, but the musicians and the music, from traditions carried on in caves across the south of Spain.

I should start this review by being honest and explaining that I was not initially excited to see Ailey at City Center. I was prepared to be impressed by the company’s physical aesthetic and not much else – I often think of the company as finely-tuned robots who are capable of demonstrating technical virtuosity but not of moving me in a big way, emotionally.

American Ballet Theatre’s gala performance for the opening of its New York season was wonderfully varied and matched the level of excitement necessary to kick off a run at the prestigious City Center.

From the traditional choreography to exploring new ideas, Spain’s only classical ballet company presented a diverse program at the New York City Center. The relatively new company was founded in 2008 by former American Ballet Theater principal Ángel Corella and originally called Corella Ballet.