New York City Ballet Announces 2022-23 Season
by Chloe Rabinowitz - Apr 15, 2022
New York City Ballet’s 2022-23 Season at Lincoln Center will open on Tuesday, September 20, 2022 and continue with 21 weeks of performances through Sunday, May 28, 2023. View the full schedule, find out how to get tickets and more.
Paul Taylor Dance Company Runs for Special Engagement at the Joyce Theater
by Marissa Tomeo - Apr 14, 2022
Paul Taylor Dance Company (PTDC) will come to the Joyce Theater June 14-19, 2022, offering audiences a unique series of programs that showcase early works choreographed by Paul Taylor including Tracer, Fibers and Aureole, along with a World Premiere by Michelle Manzanales and the New York Premiere of A Call for Softer Landings by Peter Chu, both of which were commissioned by PTDC. Tickets start at $10 and are available at joyce.org.
NYCBallet's George Balanchine's Presented THE NUTCRACKER On Marquee TV
by A.A. Cristi - Nov 20, 2021
For the upcoming holiday season New York City Ballet and Marquee TV will once again bring viewers around the world NYCB's acclaimed production of the beloved masterpiece George Balanchine's The Nutcracker in a special streaming event that will be available from November 26, 2021 through January 2, 2022 on Marquee TV.
New York City Ballet Announces Annual Season of GEORGE BALANCHINE'S THE NUTCRACKER
by Chloe Rabinowitz - Nov 12, 2021
New York City Ballet will open its annual season of George Balanchine’s The Nutcracker® on Friday, November 26 at 8 p.m. at the David H. Koch Theater at Lincoln Center for the Performing Arts. The 2021 season of the holiday classic will include 47 performances through Sunday, January 2, 2022.
BWW Review: New York City Ballet's THE NUTCRACKER
by Wesley Doucette - Dec 23, 2019
Nostalgic rose-colored glasses so tint few works as The Nutcracker. Its music, its images, its audience of children, either mesmerized or fidgeting in their Sunday best, have become annual staples of the Christmas season. Balanchine's 1954 staging of the ballet is its quintessential manifestation. As with all things Balanchine, it is a feat of harmonious contradictions; instead of his more academic ventures that seek to marry the aristocratic form with the fashionable modern, The Nutcracker is a practice in elegant nostalgia. Perhaps Balanchine felt this nostalgia for a Russia that was long gone; Stalin died the previous year, leaving behind a Russia that held no resemblance to the first act fete. That the choreographer was capable of conjuring these charming visions of a dreamlike childhood, while not sacrificing his pioneering vocabulary, is a testament to his genius