ARCHIVES

John Neumeier’s Nijinsky must be one of the best-dressed ballets ever seen at City Center, especially given the fact that it’s about a massive mental breakdown.

Laura Shapiro reviews The Life and Times of Barry Goldhubris at P.S. 122.

Susan Stroman tries to follow Balanchine across the high-low border at City Ballet, but doesn’t speak the language.

From a history of contemporary dance to Twyla Tharp’s ruminations on “creative DNA,” there’s a bonanza of new books for dance lovers.

City Ballet, his home from 1948 until his death in 1983, salutes the genius of Balanchine, whose Nutcracker remains a great classic.

Anne Teresa De Keersmaeker’s mesmerizing Rain is an improbably moving spectacle—as minimalist as the Steve Reich score it’s danced to.

The Ballet Boyz not only demystify dance—they make it dazzling. RoseAnne Spradlin’s popularity, however, remains a mystery.

A Nikolais retrospective recalls his emphasis of technology over, you know, human beings; William Forsythe gives ABT its fall winner.

When Susan Marshall made Sleeping Beauty, she threw out nearly everything in the fairy tale except the dazed princess herself. Yet watching this absorbing work unfold at BAM’s Harvey Theater, I kept imagining that I could see fragments of the familiar story glimmering in the somber light.

A roll of the dice determines the order of elements in Split Sides—even when you’ll hear Radiohead’s music for Merce Cunningham’s dancers.