A look at company standouts as the spring season draws to a close with Balanchine’s “A Midsummer Night’s Dream.”
Anthony Huxley takes on the role of the King of the Faeries in George Balanchine’s “A Midsummer Night’s Dream.”
Anthony Huxley of New York City Ballet performs an excerpt from George Balanchine’s magical and extremely funny ballet.
Part of a texting scandal that rocked City Ballet, Mr. Ramasar, performing in his old, ebullient manner, seemed a little clueless.
From the shop floors of factories to ballet’s grandest stages, unions are rethinking how they balance their responsibilities in sexual harassment cases.
It was a sign of the company’s new era to feature a dance by Ms. Tanowitz, whose virtues were on display even if she failed to hit it out of the park.
She may be the busiest woman in dance, with commission after commission, including “Bartok Ballet” for New York City Ballet.
Four of the seven ballets on the opening two programs of New York City Ballet’s season are of evergreen caliber. Why were the others revived?
Suzanne Farrell, who has a central place in Balanchine history, has been away from the company for 26 years. She came back to coach “Diamonds.”