Bowen McCauley Dance program brought an altogether pleasing work to the Atlas Intersections Festival.
The best part of Washington Ballet’s “British Invasion” is Wheeldon’s work “There Where She Loved.”
Is the grand classical masterpiece a good fit for a small company?
At Rockville’s American Dance Institute, female troupe’s moves are muscular but hardly approachable.
The program included two new pieces and two older pieces: “Leaving Pusan” and “Khaybet.”
The Russian company, beset by its own battles in the past year, will bring the betrayal-themed “Giselle” to D.C.
REVIEW | The production is a triumph for what is still proudly tender and harmonious in Russian ballet.
The familiar fairy tale is subtitled ‘A Gothic Romance’ and is more dance theater than ballet.
REVIEW | The Suzanne Farrell Ballet, as always, is so close, but ultimately frustrating.
Susan Marshall’s interesting new work, at the Terrace Theater, ends up seeming self-important, overworked.
Troupe keep audience constantly engaged, surprised and inquisitive through richly textured performance.
The National Portrait Gallery’s “Dancing the Dream” explores generations of American dance.
Margaret Jenkins culled her earlier productions to produce a new and rewarding work.
The dance program at Kennedy Center has plenty to leave an audience uncomfortable
Veteran dancers Astad Deboo and Shanta and V.P. Dhananjayan will put the power of gray on display.
American dancer spoke at the Kennedy Center about his journey to the top of his profession.
‘Swing Time’ is the first major retrospective of the American scene painter’s work in more than 20 years
In his first film — part of nine that have been restored and are on tour — moving bodies evoked emotion.
Sarah Kaufman received the 2010 Pulitzer Prize for Criticism and has been The Washington Post's dance critic since 1996. But after logging serious sit-time in opera houses, church basements, fairground tents and lawn chairs, what moves her most is seeing grace happen where she least expects it.