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Peter Martins' Swan Lake continues to divide ballet fans. Can Sara Mearns unite them, 19 years after her astonishing debut as Odette-Odile? 

One minor Balanchine, elevated by commanding performances; a rare Albert Evans; Peter Martins at his most compelling and Jerome Robbins at his funniest.

If the famous fairy variations in the Prologue can sometimes expose weaknesses, NYCB proved that it excels in pure classical ballet and not only in the neo-classical repertory.

Balanchine's unbreakable Serenade leads a mixed bill that includes his less than inspired one-act version of Swan Lake.

Maria Kowroski and Tyler Angle at the top of their game in Diamonds. A smoking performance from Sara Mearns in Slaughter on 10th Avenue. Strong debuts from Emma Von Enck and Taylor Stanley and a memorable classical turn by Aaron Sanz in the Barber.

Tiler Peck is at her peak as an artist and let’s hope it lasts a long time.

A high-spirited divertissement from the New York City Ballet.

NYC Ballet's fashion-forward program of five new works helps to keep things interesting.

Peter Martins's greatest legacy at New York City Ballet is his tremendous eye for talent and it was on full display at this matinee show.

A flock of women triumphed on opening night of Peter Martins' patchy Swan Lake at New York City Ballet: the peerless Sara Mearns as Odette-Odile; Ana Sophia Scheller, Tiler Peck and Megan Fairchild in a spectacular pas de quatre; and corps dancers Jacqueline Bologna, Baily Jones, Alexa Maxwell and Claire Von Enck as the Four Little Swans. 

Justin Peck reinvents Agnes de Mille's classic Rodeo with his thoroughly charming and fun ‘Rōdē,ō: Four Dance Episodes.