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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.  

New York City Ballet dancing Balanchine's A Midsummer Night's Dream is the happiest way to end a long season.

Love Letter (on shuffle) is like a Taylor Swift Track 5. Full of romance and longing, and it makes its emotional impact every time.

Although Glass Pieces and Pictures at an Exhibition are on the surface very different ballets, they both draw us into their world. I wish NYCB had been able to find more compelling middle ballets.

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

Alexei Ratmansky’s poignant and gripping new work breaks ground at New York City Ballet in a powerful triple bill.

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

An uneven performance with mishaps and mis-pairings, yet still offering some outstanding individual interpretations.

Unlike Tiler Peck’s ballet, the stories of Odesa continue to live in your head.

Some great and some lacklustre performances in the Jerome Robbins triple bill on opening night of New York City Ballet's winter season – and a missed opportunity.   

Sandwiched between two of Paul Taylor's greatest hits was Larry Keigwin's Drum Circle, new this season, with a tremendous live score by William Catanzaro.

The Dream is such a crowdpleaser that one wishes ABT would do this more often in their Met season, but Ballet Imperial needed more time to relax into. 

A strong opening to ABT’s fall season, the company often seemed stagnant in the last years of Kevin McKenzie’s directorship. It is now more exciting. New leadership, new faces.

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.

Someone at New York City Ballet needs to believe in Orpheus before they present it again.

New York City Ballet marked its 75th anniversary with the same triple bill that caused so much excitement at City Center in 1948: Orpheus, Concerto Barocco and Symphony in C.

NYCB give first rate accounts of the first and last ballets but the filler suffered from miscasting and lack of chemistry.

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

An auditorium packed with former company members usher in New York City Ballet's 75th anniversary with George Balanchine's ornamental triptych. 

Contemporary ballet often shies away from unabashed romance. Kyle Abraham instead leans into the love story. 

Audience response for all three ballets was extremely enthusiastic. From 1944 to 1997, Jerry knew how to please audiences.