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

David Gordon and Valda Setterfield poignantly contrast quotidian moments in the life of a married couple with the daily routines of the younger dancers around them.

There’s nothing typical about Arthur Aviles Typical Theater, which draws deeply on the choreographer’s Hunts Point roots; Crutchmaster makes kinetic poetry out of hip-hop.

Martha Graham’s dancers won the right to present her work, but with few exceptions, the young company seems timid, the work dated; Peter Martins delivers a really big shoe.

Vibrant, creative, edgy, demanding (only sometimes!), smart, funny. For this year's awards, we've chosen eleven New Yorkers who not only gave us their best but also brought out the best in New York. From Eliot Spitzer's determined drive to clean up the worst of Wall Street excess to Harvey Fierstein's monumental mom -- with a heart to match, in 'Hairspray' -- not to mention Tina Fey's irrepressibly irreverent humor, we salute their vision and celebrate our luck in being here at the right time and, of course, in the right place.

Laura Shapiro reviews the New York City Ballet's 2002 version of "The Nutcracker."

At the Next Wave Festival, Berlin dance phenom Sasha Waltz tempers the bleak, impersonal vision of Körper ("Bodies") with an ambivalently upbeat ending (we think).

What sounds like Billy Joel (on a roll) and looks like Twyla Tharp (on a tear)? Movin' Out, Tharp's sexually charged, full-throttle dance show based on Billy's greatest hits. Is it a new kind of Broadway musical? She'll let you decide.