“Ebony Magazine: to a Village,” “Clear As Tear Water,” “Gatekeepers,” “Upside Down”
Ronald K. Brown/EVIDENCE
The Joyce Theater
New York, NY
February 25, 2026

Program A of Ronald K. Brown/EVIDENCE's weeklong run at The Joyce Theater was, at its heart, a celebration – of collaboration, of community, and of Wunmi Olaiya (who goes by Wunmi), the London-born, Lagos-raised musician and designer whose music, costumes, and creative vision have been woven into the EVIDENCE aesthetic for decades. The evening honored

“BIPED,” “Mycelium”
Lyon Opera Ballet
Festival: Dance Reflections by Van Cleef & Arpels
New York City Center
New York, NY
February 21, 2026

In a three-night engagement at New York City Center, Lyon Opera Ballet presented two substantially contrasting works that nonetheless formed an unexpectedly coherent program: Merce Cunningham's landmark "BIPED" paired with Christos Papadopoulos's "Mycelium" – works opposite in structure, atmosphere, and era, yet united by a shared exposition of what happens to the human body when it is asked

"The Sleeping Beauty”
New York City Ballet
David H. Koch Theater
New York, NY
February 19, 2026

In a two-week run of Peter Martins’s staging of “The Sleeping Beauty,” New York City Ballet saved the best debut cast for last. The beauty of this “Beauty” was in the nuance, and Emma Von Enck as Aurora and Dominika Afanasenkov as the Lilac Fairy gave transcendent, intentional performances, while David Gabriel was a gallant and hopeful Prince. Meaghan Dutton-O'Hara's first outing

"The Sleeping Beauty"
New York City Ballet
David H. Koch Theater
New York, NY
February 21, 2026, matinee and evening

Two “Sleeping Beauties” in one day may seem like too much a good thing, but as Mae West said “Too much of a good thing is wonderful”.  Two very different couples, Mira Nadon with Peter Walker (matinee) and Emma von Enck with David Gabriel (evening), were each dancing their second “The Sleeping Beauty” after debuting earlier in the week.

Trinity Irish Dance Company
The Joyce Theater
New York, NY
February 17, 2026

The Riverdance phenomenon may have faded from public consciousness, but Trinity Irish Dance Company wasted no time at The Joyce Theater in proving that Irish dancing is not only alive and well — it is more of the present moment than ever. In a program of nine works including two world and one New York premiere, the company tapped, twisted, and slapped infectious rhythms with an energy that

"Dig the Say," "This Bitter Earth," "The Naked King," “Everywhere We Go"
New York City Ballet
David H. Koch Theater
New York, NY
February 7, 2026 (matinee)

In a program of works by Justin Peck, Christopher Wheeldon, and Alexei Ratmansky, New York City Ballet displayed the choreographic bedrock of the company’s current, post-Balanchine era. Fiercely technical, with a focus on musicality and sometimes drama, the direction is a formidable one when executed well. With Ratmansky’s new ballet “The

"The Sleeping Beauty"
New York City Ballet
David H. Koch Theater
New York, NY
February 13, 2026

Peter Martins’ 1991 production of “The Sleeping Beauty” returned to City Ballet for two well-sold weeks; it has remained basically unchanged for 25 years, with the same strengths and weaknesses.  Fortunately this performance, with Indiana Woodward and Chun Wai Chan as the royal couple and Ashley Laracey as the Lilac Fairy, and a number of debuts in supporting roles, was definitely on

"Dig the Say", "This Bitter Earth", " "The Naked King", "Everywhere We Go"
New York City Ballet
David H. Koch Theater
New York, NY
February 5th and February 8th, 2026

Alexei Ratmansky’s new ballet “The Naked King”, a retelling of Hans Christian Andersen’s always timely “The Emperor Has No Clothes”, is another of his explorations of ballet’s history.  Shortly before he died Diaghilev had come up with the idea of using the Andersen story for a ballet,

"Walpurgisnacht Ballet," "Flower Festival in Genzano Pas de Deux," "The Wind-Up," "Opus 19/The Dreamer"
New York City Ballet
David H. Koch Theater
New York, NY
January 30, 2026

On a night abundant with debuts, including an all-new second cast for Justin Peck’s “The Wind-Up” which premiered a day earlier, the real revelations came from the repertory. While Peck's latest work stumbled through familiar choreographic territory, the dancers once again proved that a company’s greatest asset is

"Serenade", "The Prodigal Son", "Paquita"
New York City Ballet
David H. Koch Theater
New York, NY
January 31, 2026 matinee

The programming gods, who can sometimes be arbitrary, provided an outstanding triple bill, a perfect example of scheduling a complete meal.  It opened with “Serenade”, a most luscious appetizer, followed by the dramatic meat of “The Prodigal Son”, and ended with a fine dessert, the Spanish frivolity of Ratmansky’s take on the Grand Pas of Petipa’s “Paquita”

"Walpurgisnacht Ballet", "Flower Festival in Genzano Pas de Deux", "The Wind-Up", "Opus 19/The Dreamer"
New York City Ballet
David H. Koch Theater
New York, NY
January 29, 2026

The premiere of Justin Peck’s new ballet “The Wind-Up”, was the centerpiece of this program. He used the first movement of Beethoven’s “Eroica Symphony” and a cast of six of the most interesting and vibrant of NYCB’s currently packed roster.  Balanchine’s “Walpurgisnacht Ballet” which is set

"Kammermusik No. 2", "Le Tombeau de Couperin", "Antique Epigraphs", "Raymonda Variations"
New York City Ballet
David H. Koch Theater
New York, NY
January 23, 2026

The four ballets (three by Balanchine and one—“Antique Epigraphs”—by Robbins) on this program were all plotless explorations of the different atmospheres created by the composers, ranging from the jagged tones of Hindemith’s “Kammermusik No. 2”, the classical calm of Maurice Ravel’s “Le Tombeau de Couperin”, the mysterious Grecian echoes of Claude