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

Scenic designs left the most lasting impressions of a mixed bill at New York City Ballet featuring a world premiere by Justin Peck.

Brahms-Schoenberg Quartet comes across as a work with fragments of greatness rather than a masterpiece but the rest of the evening offers sheer brilliance.

Underneath, There Is Light was soothing, expansive and uplifting. One could see it becoming a regularly revived work.

An intermittently sparkling evening culminates in a thrilling explosion of art.

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

The final performance at NYCB’s fall season was the best one. One has to have just pure admiration for this company, its dancers, its history, its future.

An evening of George Balanchine’s joyous, kitschy send-ups, with clever parodies of Petipa ballets.

George Balanchine's ballet brings joy to audiences year in, year out. 

Partita has emerged as one of the stronger Peck ballets. If we see more Partita and less Principia, that’s a good thing.