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The single best thing about The Tenant was Frank Moon’s score, played by Moon himself on the piano, violin, and singing.

Kyle Abraham’s A.I.M opened the Lar Lubovitch-curated NY Quadrille at the Joyce with Dearest Home, a deeply personal work.

At its best, Lubovitch's work elevates the spirit and serves as a reminder that there’s beauty in the world.

Dada Masilo’s Giselle is about her redemption, not his.

Bravo to Tulsa Ballet for doing everything they needed to do for a successful appearance at The Joyce Theater.

There’s always this hazard in self-produced works: you operate in a bubble where no one tells you that you need to look more outward and less inward.

Fagan embraces multiple generations of dancers and they reward the audience with the richness and depth of their experience.

Dresden Semberoper Ballett came across as a troupe of seasoned and versatile performers who move with fluidity in diverse repertory.

Once again, kudos to Adam Sklute and Ballet West for putting on a program of mostly new or recent works created for the company.

Watching Twyla Tharp move now is a reminder of how much she has affected the landscape of dance during her lifetime.

I have the sense that we’re only beginning to find out how great a dancer Christine Shevchenko will be.

Richmond Ballet's dancers are an engaging bunch who aim to please and their goodwill radiated from the stage.

Catch this company wherever and whenever you can.

It was a successful program that showed off the considerable range of a talented and charming troupe.

I can’t help feeling that an opportunity was missed.

Christine Rocas played Juliet with exuberant lyricism that won me over completely.

Hamburg Ballet is a company of full of individuals who are compelling in their musicality and the joy they take in movement.

The Sydney Dance Company is a great company, not just a good company.

The ability of CCN - Ballet de Lorraine's dancers to rise to the occasion given superior material like Cunningham’s Sounddance demonstrates that they are capable of fine dancing but it was not sufficiently on display in this program.

Without Desmond Richardson overshadowing everything, this engagement becomes an opportunity for the rest of the company to be evaluated without distortion and it’s a great company of superb dancers.

The gem of this year's American Dance Platform at the Joyce is Dallas Black Dance Theater.

Pam Tanowitz's Sequenzas in Quadrilles makes use of series curator Lars Lubovitch's unusual vision for the Joyce Theater: Dance in the round.

Sir Frederick Ashton was a choreographic genius but not everything he created rose to that level, as this program showed.

The company of ten is filled with very well trained dancers, mostly from Juilliard’s highly regarded dance program, and they are all quite good. 

Twyla Tharp is a choreographer of massive intelligence. At her best, she’s sharply witty, musically insightful and a blast to watch. 

Ballet BC's Thursday night performance at The Joyce in NYC included a kitschy première from artistic director Emily Molnar, a quirky ensemble number from Sharon Eyal and Gai Behar and a truly beautiful work by Crystal Pite.

Les Ballets Jazz de Montréal is a company that embraces individuality and is at its best when the dancers are all on stage together.

Michelle Dorrance and Nicholas Van Young's ETM: Double Down at The Joyce is a tap-happy, technology-driven, everything-but-the-kitchen-sink performance bursting at the seams with energy.

I definitely recommend Empty Moves but you have to come to it with an open mind, ready to see something completely different.

Every year, Jacqueline Kennedy Onassis School and the American Ballet Theatre Studio Company train dancers who go on to careers with dance companies all over the world.

Pennsylvania Ballet looked very good in this opening show, their first in New York since Angel Corella took over as Artistic Director

The program that the Hong Kong Ballet presented at the Joyce Theater showed a company that is disciplined and technically accomplished.

In order to really take you somewhere a performance has to open a window to another, higher plane of existence. This is that show.

Dada Masilo is a delightful performer whose warmth and goodwill instantly captures your heart.

The women of Parsons Dance are fierce and powerful.

American Dance Platform at The Joyce is a great opportunity to catch a taste of a number of different companies.

With INTENSIO, a program of new dances he commissioned, Simkin is clearly making a major move.

Desmond Richardson remains indelibly powerful but Dwight Rhoden's choreography wears thin in large doses.

Kyle Abraham's Abraham.in.Motion offers an evening of undeniable rawness at the Joyce Theater in NYC.

Ballet Memphis is proudly diverse and draws on its community for inspiration giving it an authentic and resonant voice.

Rachel Rizzuto reviews the Batsheva ensemble in artistic director Ohad Naharin's Decadance at the Joyce Theater in NYC.

Historically a dead month for the dance world, August is heating up as mini-festivals become more commonplace. New York City Ballet's Ashley Bouder presents a balanced program at the Joyce.

The Polish National Ballet compares favorably with American regional companies like Pacific Northwest Ballet, Ballet West and San Francisco Ballet.

Rachel Rizzuto reviews Hubbard Street Dance Chicago's Program A at The Joyce Theater in NYC, which features works by Alejandro Cerrudo, Robyn Mineko Williams, Crystal Pite and Gustavo Ramirez Sansano.

A classically rooted company that is looking toward the future.

Ivan Talijancic shares his observations in conjunction with Stephen Petronio Company's 30th anniversary engagement at The Joyce Theater in New York City.

Ballet West provided a rare treat by programming all recent and new works by Matthew Neenan, Nicolo Fonte, Helen Pickett and Val Caniparoli in the company's New York engagement.

Nederlands Dans Theater 2, the Dutch powerhouse's young ensemble brings a mixed programme to New York City 

This evening with the Principals and Soloists of the Royal Danish Ballet was a welcome reminder to a deeply appreciative audience that great beauty is found in small things.

Ivan Talijancic shares his observation on Russell Maliphant Company's Still Current at The Joyce Theater in New York City.