ARCHIVES

At Lincoln Center’s Ashton Festival, a second-ranked company steals the show. Plus: Thrilling Kabuki!

Richard Move’s glorious, goofy homage to Martha Graham; Boris Eifman’s distinctly un-Balanchine Balanchine.

An artistic sensibility as beautiful and unforgiving as the Scottish moors informs Christopher Wheeldon’s new work for the City Ballet.

Mark Morris once dismissed the dance world with a bohemian’s disdain. Now he’s embraced it, never losing his gift for emotional insight.

How do you solve a problem like Raymonda? An attempt to return to the ballet’s grand roots has mixed results. Plus, Peter Martins’s latest.

Though Lar Lubovitch’s graceful troupe still performs in offbeat venues, his work is solidly mainstream, disinclined to make waves.

An artistic sensibility as beautiful and unforgiving as the Scottish moors informs Christopher Wheeldon’s new work for the City Ballet.

Everything I'd read about Maguy Marin's new work, including a rave review, made it sound ghastly: an hour of grim-faced walking around, inspired by Latin American dictatorships.

Back in that brief, shining moment when Twyla Tharp was making dances for Mikhail Baryshnikov, everything she choreographed for him was also about him.

At the Joyce, Karole Armitage was showing her Cunningham roots; uptown at City Center, Paul Taylor dipped into his back pages.