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Scottish Ballet’s Mary, Queen of Scots Tours to the U.S.

Amy Brandt

Megan Fairshild, wearing a white tutu with gold and bright blue trim and a sparkly tiara, does an Italian pas de chat towards stage left. She looks over her left arm with a smile.

Megan Fairchild Reflects on Her 25-Year Career With New York City Ballet

Rebecca Corey

In a large ballet studio, Miguel Anaya holds Sophie Miklosovic in a dramatic fish pose. They both grin, she wearing a flowing light purple dress, and he tan slacks with a white tank top.

Remi Wörtmeyer Discusses His New American La Bohème for BalletMet

Steve Sucato

Onstage in front of a bright blue backdrop, Aina Oki does a piqué attitude derriere on pointe, her arms in a high third. She wears a bright gold pancake tutu.

Tulsa Ballet to Debut at the Royal Opera House’s Linbury Theatre

Cynthia Bond Perry

Onstage, two dancers perform a pas de deux in white shirts and shorts. Styles Dykes lunges forward and reaches up and forward to support his partner, Alexandra Troianos, who does an attitude penché in front of him. Behind them is a large purple and brown backdrop made to look like compartments carved in wood.

In Machinal: A Dance of Defiance, Ballet RI Questions Convention

Kyra Laubacher

In an Italian-style courtyard, two dancers perform a pas de deux. Zecheng Liang lifts Thays Golz overhead as she tucks one leg into retiré and extends the other back in arabesque. She arches up and back with her arms wide behind her. Both dancers wear white-colored costumes and look up.

Juliano Nunes’ New Romeo and Juliet, for Philadelphia Ballet, Lets Emotion Lead

Hana Le

Cameron sinkʷə Fraser-Monroe, shown from the hips-up, twists his upper body with one arm crossed in front, bent at the elbow with his fingers reaching upward. He looks into the mirror (off-camera) with intensity. Ballet dancers behind him watch and mimic his movement.

Choreographer Cameron sinkʷə Fraser-Monroe, of the Tla’amin First Nation, Takes Canada by Storm

Kathleen Smith

A close-up of Astrid Elbo, as Lady Macbeth, clutching her face with her arms crossed at the elbow. She throws her head back and looks at the camera with emotion, lips slightly parted. She wears a teal satin dress with long sleeves and wears her long hair down.

Akram Khan Rewrites the Narrative for Lady Macbeth at Royal Danish Ballet

Courtney Escoyne

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