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American Ballet Theatre presents Balanchine's Raymonda: Grand Pas Hongrois and Ratmansky's Firebird which showcases the company well and provides a strong contrast.

A finely curated triple bill from American Ballet Theatre included works from Balanchine, Jiří Kylián and Alexei Ratmansky.

In spite of somewhat limited dance vocabulary, American Ballet Theatre showcased its strength in dance actors presenting a very enjoyable Othello in New York.

Jerome Robbins' Dances at a Gathering and George Balanchine's Diamonds make a study in contrasts. With lots of debuts in the former and seasoned leads in the latter. 

Roman Mejia and a raft of soloist debuts galvanized Peter Martins' Sleeping Beauty. An elegant production with some incidental messiness and the structural liability of a princess' dependence on a kiss.

New York City Ballet presents a very entertaining quadruple bill which includes Alexei Ratmansky’s latest work, The Naked King, showing off the company’s comic talents.

Never has Justin Peck seemed more compositionally assured, and paradoxically freer, than in his latest ballet, breaking the mold of past work that mostly celebrated the camaraderie of his generation. 

NYCB has a winning triple bill with its Balanchine + Ratmansky program. Excellent dancing and contrasting works sends the audience home in buoyant mood.

A letdown and a triumph at the Paul Taylor Dance gala this week, featuring new works by Lauren Lovette and Robert Battle, both resident choreographers, she in her 4th year, he in his 2nd. 

From disturbing to daffy: a searing indictment and a gentle parody, both from Paul Taylor, at Lincoln Center in New York, as his company continues to pack houses in its fall season.

Company B and Esplanade bookended a popular mixed bill from Paul Taylor Dance Company in the first week of their ambitious fall season at New York's Lincoln Center.  

American Ballet Theatre presented a well balanced program of Nuñes, Ratmansky and Balanchine which produced some revelatory performances.

ABT offer some outstanding performances in a classical quadruple bill but there was a lack of confidence and uniformity within the corps de ballet. 

An uplifting triple bill by American Ballet Theatre with three contrasting ballets. Especially entertaining were Tudor's Gala Performance and Agnes de Mille's Rodeo.

Twyla@60: A Tharp Celebration is an overall triumph though not just for Tharp, but for Susan Jaffe’s vision for American Ballet Theatre.

Some excellent individual performances but a disappointing program for Contemporary Choreography I with New York City Ballet.

A sublime Robbins-Balanchine pairing at New York City Ballet, it was Robbins’ Goldberg Variations that came off best.

New York City Ballet offered a few exhilarating moments in a mishmash of a program from the company with arguably the greatest rep in the world.  

NYCB's triple bill that harks back to the 1950s proves a love letter to an America that never was.

A slightly under par opening night at New York City Ballet but nevertheless, some strong individual performances.

A ballet about love transcending death – and also about two people who transgress gender and class boundaries. A singular achievement by Hong Kong Ballet arrives in New York. 

A contemporary retelling in dance of the ancient Chinese folktale of the White Snake makes its first international stop at New York's Lincoln Center and it's a marvel.

“白蛇传”的传说自古以来便在华语世界广为流传，且随着时代风云的变幻而不断演变。在唐代，这个故事讲述的是人与蛇妖的禁忌之恋，却在时光长河中不断被重新诠释。

Balanchine's much-loved yet maddeningly disjointed A Midsummer Night's Dream returns to New York City Ballet. Some glorious performances on opening night, some uneven. But the night belonged to the bugs.

A joyful, very gracious finale for a highly respected and loved principal dancer at NYCB. Andrew Veyette bows out with dignity and humility.

When We Fell, Kyle Abraham’s bracing new piece for NYCB, made a minimalist statement on a maximalist quadruple bill, also notable for stunning ensemble work in Alexei Ratmansky's Odesa.

NYCB presents five short pieces to the music of Maurice Ravel in a bill that showed off some promising debuts.

New York City Ballet deliver an enjoyable, diverse, if occasionally predictable triple bill with revivals of works premiered last season.

Two masterworks by Jerome Robbins, Brandenburg and A Suite of Dances, are joined by Wheeldon's steamy After the Rain and Ratmansky's Paquita challenge.

A wonderfully varied triple bill for NYCB allowing the company to shine across all ranks.

Opening New York City Ballet's spring season, a quadruple bill of major and minor Balanchine eventually proceeded after protestors infiltrated the Koch Theater and created a diversion. 

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

A winning mixed bill at New York City Ballet, featuring three stylistically and conceptually very different works, yielded many gems. 

Last night’s New York City Ballet program gave you an idea of Tallchief’s versatility and depth in a fitting tribute to her great talent.

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

The whole evening had an excellence across four ballets that is a rare occasion. And it had a sui generis portrayal in Alexa Maxwell’s Novice. I would highly recommend seeing this program.

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.

The best performances of Balanchine’s Nutcracker are always the SAB children. Year after year, they capture not just the steps but the emotions behind Nutcracker.

The season has had enthusiastic crowds, Taylor classics were well-danced and PTDC will always have Esplanade to make audiences happy.

A chilling masterpiece, a tribute to a beloved dancer, and the announcement of a new resident choreographer galvanized the Paul Taylor Dance gala audience at New York's Lincoln Center.

Great novels make bad ballets. There might be exceptions to this rule, but this isn't it. 

Artistic Director, Susan Jaffe, reviving the Kingdom of the Shades for ABT’s Fall Season was both a testament to her trust in her company, and also a test.

Just as there can never be a bad performance of Serenade, there are no bad performances of In the Upper Room. It practically dances itself.

Bond’s La Boutique was delightful, Abraham’s Mercurial Son, a little disappointing but Lander's Études sent the audience home happy.

What took so long, you may wonder, to get three female choreographers on a triple bill at New York City Ballet. This one yielded three keepers. 

Coppélia is a gift from Balanchine and Danilova to classical ballet, in this 50th anniversary revival.

 It was a remarkable performance and (unusual for Monumentum pro Gesualdo and Movements for Piano and Orchestra) led to a loud, prolonged ovation at the curtain call.

Divertimento from Le Baiser de la fée is revived infrequently. It is an odd ballet, as if Balanchine’s couldn’t quite resolve his troubles choreographing to this piece. 

Piano Concerto #2 dominated this program and as the closer, would have sent everyone home happy.

Five of the best-known dance companies based in New York City have united for a weeklong program every summer since COVID. This year they shared a stage but stuck to their own rep.