Dance Review

The troupe’s current New York season features several dances by its namesake along with newer works that struggle to distinguish themselves in the repertoire.

In its first fall season programmed by artistic director Susan Jaffe, the company performs classic and contemporary choreography from its vast repertoire.

Now celebrating its 75th anniversary, the company honors its co-founder with several bills of his dances, including the three-part ‘Jewels’ and the witty ‘Bourrée Fantasque.’

Staged at a New York gas station, the artist’s reimagining of a 1938 work proved less engaging than the accompanying gallery show at The Kitchen that explores the original production, including its arresting designs by artist Paul Cadmus.

The New York series presented a new, oceanside arrangement of the choreographer’s ‘Beach Birds,’ paired with an uninhibited ‘response’ by Sarah Michelson.

The troupe’s current two-week run is its first season at the Joyce Theater and highlights its triumphant return to the stage after the Covid-19 pandemic.

The company celebrates at the Joyce Theater, where a decades-spanning mix of offerings demonstrates its signature athleticism and style.

Inspired by the book and movie, the American Ballet Theatre’s season-opener, choreographed by Christopher Wheeldon and composed by Joby Talbot, has a plot that proves too tangled to tell through dance.

Works by the legendary choreographer dominated the first half of the company’s spring season; the second features newer dances of varying inventiveness, including an energetic piece by resident choreographer Justin Peck.

The troupe’s current run at the Joyce Theater features dances by Graham alongside contemporary works inspired by her that struggle to compete.

The choreographer’s nearly three-hour work, which had its premiere in 2001 and was inspired by her time in the South American nation, is now in performances at the Brooklyn Academy of Music.

The United Ukrainian Ballet performed ‘Giselle’ at the Kennedy Center in a new interpretation by choreographer Alexei Ratmansky.

One of two all-evening ballets in the company’s winter season, choreographer Justin Peck’s ‘Copland Dance Episodes’ takes inspiration from four of the American composer’s works; in another program, Balanchine’s little-seen ‘Haieff Divertimento’ proves sly and compelling.

The dance company’s current season at City Center features four recent additions to its repertory, including a world premiere, a Paul Taylor duet and a piece by Twyla Tharp.

The return of the School of American Ballet’s students under age 12 to the perennial Lincoln Center production after a pandemic-related hiatus makes the show especially poignant and engaging.

The Paul Taylor Dance Company’s current season at Lincoln Center features works new and old, including some of Taylor’s collaborations with artist Alex Katz.

Alongside Balanchine favorites, New York City Ballet’s season features works by Kyle Abraham and Justin Peck, as well as Gianna Reisen’s dance to a commissioned composition by Solange Knowles.

The British choreographer’s ‘Birthday Offering’ is the standout on a triple bill that also includes his ‘Varii Capricci’ and the underwhelming world premiere of ” ‘Shades of Spring’ by Jessica Lang.

Moses Pendleton’s dance troupe performs a kaleidoscopic reimagining of the Lewis Carroll classic.

The troupe’s Met season, its final one under Kevin McKenzie and its first since 2019, is a showcase of talent in choreography both new and old