MIRIAM MILLER

With the holidays around the corner, we’ve gathered together a selection of cheeky, clever, and meaningful presents to help you brighten someone’s season as we head into 2017.

In his latest work for City Ballet, the young choreographer turns toward narrative in a story about the enduring power of art to overcome.

The designers behind ADEAM, Marques’Almeida, and Opening Ceremony contribute costumes to new works premiering tonight at New York City Ballet’s Fall Gala.

A new collaboration from choreographer Wayne McGregor, musician Jamie xx, and artist Olafur Eliasson adapts Jonathan Safran Foer’s story for the stage.

From choreographing for Beyoncé, Coldplay, and Alaïa to dancing with robots.

Even if you’ve already picked up the print edition of our latest issue—and if you haven’t, you can do so here—it’s worth taking a look at our brand-new iPad version, which you will actually be able to read on the train.

Ballet can often seem a hermetic world, sealed off by French terminology, acute melodrama, and unnervingly perfect posture. Glimpses within are few and far between, and tend, in popular culture, to hew along the bombastic lines of Black Swan, Darren Aronofsky’s frantic 2010 film which starred Natalie Portman as an increasingly fevered prima ballerina and featured future Paris Opéra Ballet director Benjamin Millepied as her haughty partner.

The new documentary Ballet 422, however, extends an open invitation to a quiet look behind the scenes at New York City Ballet, following dancer and choreographer Justin Peck as he prepares for the 2013 première of his brand-new Paz de la Jolla.

As the founder of BalletCollective, the young choreographer and dancer Troy Schumacher is no stranger to the art of working together. His cross-disciplinary explorations for his company, dance pieces informed as much by his collaborators’ poems and music as by his own steps, have served to establish him as an exciting new talent on New York’s ballet scene since he started creating in 2010. This week, he steps out largely on his own, as his first work for his home company, New York City Ballet, premieres tomorrow night as part of the Fall Gala alongside new pieces by Justin Peck and Liam Scarlett.

It was Ezra Pound who once said something to the effect that poetry loses its way when it gets too far from music, and music loses its way when it gets too far from dance.1 Music is not something to which one dances, Pound would have us believe; one dances and the gesture necessitates music. First comes the body, the physicality of life, and from that everything else follows in good order: music, poetry.