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  • Anatomy of a Dance: Lauren Lovette on Voices

    Lauren Lovette gives insight into the character in her variation in Alexei Ratmansky's Voices that's inspired by the emotion in the 'voice' underpinning Peter Ablinger's score, Japanese actress Setsuko Hara.

  • This Bitter Earth

    An intimate take on Christopher Wheeldon's bittersweet ballet with Adrian Danchig-Waring and Sara Mearns.

  • Design in Motion: A New York City Ballet Fall Fashion Retrospective

    Experience a first-of-its-kind retrospective exhibition that showcases the incredible artistry of NYCB's Costume Shop. On display is the work of twenty-six top fashion designers who collaborated with Marc Happel, Director of Costumes, accompanied by videos documenting each of the collaborations.

  • A Child’s Introduction to New York City Ballet

    Ever wanted to know what makes New York City Ballet tick? Peep inside the theater to get an insider look at the Company and those who make each performance shine, from the dancers to the costumers to the orchestra.

  • Russell Janzen on GLASS PIECES

    As dancer Russell Janzen notes, Jerome Robbins’ Glass Pieces may be an abstract ballet with an experimental score by Phillip Glass, yet it’s also rooted in the real world, especially the feeling of driving, pulsing undercurrents found just by walking through New York City.

  • George Balanchine

    Hopeless romantic, pure classicist, intellectual modernist — find out how George Balanchine's many different sides come across in his extraordinary body of work, and how he established the first truly American ballet company.

Videos

Inside the Repertory

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  • Harrison Ball and Indiana Woodward on Dances at a Gathering

    Indiana Woodward and Harrison Ball discuss the humanity, community, and love found in Jerome Robbins’ masterwork Dances at a Gathering, and how the hour-long ballet isn’t just danced for the audience, but for each other.

  • Taylor Stanley on Opus19/The Dreamer

    Principal Dancer Taylor Stanley delves into Jerome Robbins’ moody Opus 19/The Dreamer, discussing the therapeutic nature of taking on a ballet that essentially takes place in another reality.

  • Russell Janzen on GLASS PIECES

    As dancer Russell Janzen notes, Jerome Robbins’ Glass Pieces may be an abstract ballet with an experimental score by Phillip Glass, yet it’s also rooted in the real world, especially the feeling of driving, pulsing undercurrents found just by walking through New York City.

  • Andrew Veyette on STARS AND STRIPES

    Andrew Veyette discusses George Balanchine's patriotic tribute to America and the legacy of El Capitan, a role he's performed for 17 years.

  • Tiler Peck, Teresa Reichlen and Sara Mearns on George Balanchine's JEWELS

    Principal dancers Tiler Peck, Teresa Reichlen and Sara Mearns talk about George Balanchine's "Jewels," an epic full-length evening consisting of three remarkable ballets: Emeralds, Rubies and Diamonds. With music by Gabriel Faure, Igor Stravinsky and Pyotr Ilyich Tschaikovsky.

  • Kristen Segin on Jerome Robbins' N.Y. EXPORT: OPUS JAZZ

    Corps de Ballet Member Kristen Segin talks about letting loose and bonding with fellow corps members in Jerome Robbins’ iconic “ballet in sneakers”, NY Export: Opus Jazz.

  • Justin Peck and Taylor Stanley on Peck's Rodeo: Four Dance Episodes

    Choreographer Justin Peck discusses his new take on Aaron Copland’s famous Rodeo, while Justin’s long time collaborator, Soloist Taylor Stanley, talks about how Justin is challenging the Company’s male dancers in surprising new ways.

  • Tyler Angle on FANCY FREE

    Tyler Angle talks about how his real-life friendship with his fellow dancers helps him dance the role of a shy sailor looking for love in Jerome Robbins' very first ballet, set on the streets and in the bars of 1940s-era New York City.

  • Ashley Bouder and Sara Mearns on Peter Martins' SWAN LAKE

    Principal dancers Ashley Bouder and Sara Mearns take us behind the scenes of their rehearsal process for the iconic role of the Swan Queen - and talk about why Peter Martins' choreography of the final act gives them goosebumps every time.

  • dance

    Adrian Danchig-Waring on THE FOUR TEMPERAMENTS

    Principal dancer Adrian Danchig-Waring talks about the medieval inspiration behind Balanchine's modernist masterpiece, and how FOUR TEMPERAMENTS has stood the test of time.

  • Megan LeCrone on Balanchine's AGON

    Megan LeCrone talks about her special relationship with George Balanchine's AGON and why the ballet is still as radical today as it was in 1957.

  • Jared Angle on BARBER VIOLIN CONCERTO

    Principal Dancer Jared Angle talks about finding new ways of moving and exploring his modern side in Peter Martins' BARBER VIOLIN CONCERTO

  • Ashley Laracey on George Balanchine's CONCERTO BAROCCO

    Soloist Ashley Laracey talks about what makes the corps of NYC Ballet so unique - and shares their special pre-show ritual - in this behind-the-scenes look at one of Balanchine's most iconic ballets.

  • Teresa Reichlen on Balanchine's WESTERN SYMPHONY

    Principal dancer Teresa Reichlen takes us behind the scenes of her rehearsal process for the iconic ballerina role in Western Symphony, and talks about how Balanchine's love for America comes across in this fun, charming ballet set in the Wild West.

  • Georgina Paczoguin and Andrew Veyette on WEST SIDE STORY SUITE

    Georgina Pazcoguin, who plays Anita, and Andrew Veyette, who plays Riff, discuss how Jerome Robbins created a suite of dances from his hit Broadway show for New York City Ballet; why "West Side Story" still matters; and how ballet dancers handle the pressure of singing live to Leonard Bernstein's iconic score.

  • Tiler Peck on Balanchine's TSCHAIKOVSKY PAS DE DEUX

    Principal Dancer Tiler Peck talks about taking risks and learning to trust herself in Balanchine's high energy crowd pleaser set to extra music from Tschaikovsky's Swan Lake

  • Daniel Ulbricht on Balanchine's TARANTELLA

    NYCB Principal Dancer Daniel Ulbricht describes how George Balanchine turned an Italian folk dance based on a myth about spiders into a six minute powerhouse of a ballet.

  • Ashley Bouder on Balanchine's SERENADE

    Principal Dancer Ashley Bouder talks about why dancing Serenade is amazing for both the corps and the principals, and why Balanchine's first ballet in America is still relevant today.

  • Jared Angle on Jerome Robbins' MOVES

    Principal dancer Jared Angle talks about how dancing in silence intensifies his connection to the audience and his fellow dancers in Moves, the only ballet in the repertory without music.

  • Lauren Lovette on George Balanchine's RAYMONDA VARIATIONS

    Principal Dancer Lauren Lovette talks about battling nerves and bringing out her lyrical side in Balanchine's Raymonda Variations.

  • Taylor Stanley on George Balanchine's SQUARE DANCE

    Principal Dancer Taylor Stanley talks about why the pensive male solo in Balanchine's Square Dance suits his personality on and off the stage.

  • Amar Ramasar on Alexei Ratmansky's PICTURES AT AN EXHIBITION

    Principal dancer Amar Ramasar talks about how working with Alexei Ratmansky pushed him to the limit in the choreographer’s fourth work for NYCB, Pictures at an Exhibition.

  • Cameron Grant & Tyler Angle on THE GOLDBERG VARIATIONS

    Solo Pianist Cameron Grant and Tyler Angle on how the music takes center stage in Jerome Robbins’ epic The Goldberg Variations, a 90-minute work set to Bach’s iconic piano works of the same name.

  • Teresa Reichlen on George Balanchine's SYMPHONY IN C

    Principal dancer Teresa Reichlen talks about how class technique translates to the stage in Balanchine’s iconic Symphony in C, and how she developed a new level of trust in her partner while dancing the 2nd movement ballerina role.

  • Lauren Lovette on Interplay

    Lauren Lovette talks about the natural camaraderie and playful competition on stage in Jerome Robbins' Interplay.

  • Maria Kowroski on George Balanchine's CHACONNE

    Maria Kowroski talks about her favorite way to open a ballet and the tricky footwork involved in George Balanchine's Chaconne.

  • Claire Kretzschmar on MES OISEAUX

    Claire Kretzschmar talks about originating a featured role in a new ballet by Peter Martins, and what it's like to wear a costume created by designer Gilles Mendel.

  • Tyler Angle on MERCURIAL MANOEUVRES

    Tyler Angle discusses choreographer Christopher Wheeldon's unique style in Mercurial Manoeuvres, how Shostakovich's playful humor comes out in his Piano Concerto No. 1, and what it takes for a male dancer to be a really good partner.

  • Teresa Reichlen on FIREBIRD

    Teresa Reichlen discusses what makes a Firebird different from a Swan and what it feels like to be in the spotlight dancing to Stravinsky's famous score.

  • Gretchen Smith on DGV: Danse à Grande Vitesse

    Gretchen Smith talks about the difficulties of rehearsing large ballets on stage and the important role of the corps de ballet in Christopher Wheeldon's DGV:Danse à Grande Vitesse.

  • Ashley Bouder on THE FOUR SEASONS

    Ashley Bouder talks about combining humor with precise classical technique in Jerome Robbins' The Four Seasons.

  • Andrew Veyette on VESPRO

    Andrew Veyette takes a giant leap into the unknown and pushes his technique to the edge of impossibility in Mauro Bigonzetti's Vespro.

  • Tiler Peck on LES CARILLONS

    Tiler Peck (with special guest Cali) on what it's like to have a role made especially for her in Christopher Wheeldon's ballet, Les Carillons, which premiered in the 2012 winter season at NYCB's first ever All Wheeldon evening.

  • Marika Anderson on Balanchine's Swan Lake

    Marika Anderson talks about her childhood love of Tschaikovsky and the important role of the corps in Balanchine's one-act Swan Lake.

  • Sterling Hyltin on THE CONCERT

    Sterling Hyltin discusses what it takes to play the "mad ballerina" in Jerome Robbins' comic ballet about "the perils of everybody".

Education

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  • A Child’s Introduction to New York City Ballet

    Ever wanted to know what makes New York City Ballet tick? Peep inside the theater to get an insider look at the Company and those who make each performance shine, from the dancers to the costumers to the orchestra.

  • NYCB Access Programs

    Since 2014, NYCB Access Programs have provided experiences for children and adults with disabilities to interact with the Company. Watch how ballet can benefit anybody and everybody, including one young girl who got to live her dream of being a ballerina.

  • Family Saturdays

    Awaken your child’s love for dance with Family Saturdays, a one-hour onstage presentation designed for families with children ages 5+.

  • New York City Ballet in the Classroom

    A look inside NYC Ballet’s in-school residency programs which engage, enlighten, and inspire students in New York City schools.

  • The Nutcracker Project

    A look at The Nutcracker Project, an in-school residency program designed to encourage and showcase the artistic expression of students through exposure to New York City Ballet.

Anatomy of a Dance

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  • Anatomy of a Dance: Lauren Lovette on Voices

    Lauren Lovette gives insight into the character in her variation in Alexei Ratmansky's Voices that's inspired by the emotion in the 'voice' underpinning Peter Ablinger's score, Japanese actress Setsuko Hara.

  • Anatomy of a Dance: Ashley Bouder on Donizetti Variations

    Ashley Bouder reveals all the things she loves about her absolute favorite role to perform – Balanchine's Donizetti Variations.

  • Anatomy of a Dance: Erica Pereira on Divertimento from 'Le Baiser de la Fée'

    Erica Pereira reveals some of the special details and technicalities of the tricky partnering in Balanchine's choreography to Stravinsky's lyrical score in Divertimento from 'Le Baiser de la Fée'.

  • Anatomy of a Dance: Emma Von Enck on Composer's Holiday

    Dancer Emma Von Enck reveals what it's like to dance a prominent featured role as a first year corps de ballet member in a ballet created by the youngest choreographer in NYCB history, Gianna Reisen.

  • Anatomy of a Dance: Anthony Huxley on Belles-Lettres

    Anthony Huxley talks about the liberation he experiences while dancing in Belles-Lettres, which showcases Peck’s unique familiarity with Huxley’s strengths—they’ve known each other since they were students in the School of American Ballet together.

  • Anatomy of a Dance: Sara Mearns on Brahms-Schoenberg Quartet

    Sara Mearns discusses the boisterous fourth movement of Balanchine's Brahms-Schoenberg Quartet and the thrill of recognizing her unique take on the role she first fell in love with as a member of the Corps.

  • Anatomy of a Dance: Gonzalo Garcia on Danses Concertantes

    Gonzalo Garcia discusses the challenge of maintaining constant motion in the pas de deux of Balanchine’s Danses Concertantes and curious experience of wearing gloves throughout the performance.

  • Anatomy of a Dance: Teresa Reichlen on Union Jack

    Teresa Reichlen dives into the nostalgic tunes and intricate footwork that shape the Royal Canadian Air Force section of Balanchine’s Union Jack.

  • Anatomy of a Dance: Joseph Gordon on Symphony in C

    Joseph Gordon explains how he maintains an easy, breezy upper body while riding the music in Balanchine’s challenging Symphony in C.

  • Anatomy of a Dance: Sterling Hyltin on Everywhere We Go

    Sterling Hyltin explores the exciting jumps and lifts in the second movement of Justin Peck’s ballet, and how some moments allow her to smile ‘hello’ to dancers waiting in the wings.

  • Anatomy of a Dance: Megan Fairchild on DANCES AT A GATHERING

    Megan Fairchild discusses the subtle nuances that come with dancing the Green Girl, and how the role has a different flavor and feeling than others in Dances at a Gathering.

  • Anatomy of a Dance: Ask la Cour on Stravinsky Violin Concerto

    Principal Dancer Ask la Cour talks about performing the second aria pas de deux in Balanchine’s Stravinsky Violin Concerto, which he likens to a co-dependent relationship.

  • Anatomy of a Dance: Gretchen Smith on The Times Are Racing

    When revisiting the pas de quatre in Justin Peck’s The Times Are Racing, Corps de Ballet Member Gretchen Smith describes how dancing in sneakers instead of pointe shoes changes the way she approaches a role.

  • Anatomy of a Dance: Daniel Ulbricht on Rodeo: Four Dance Episodes

    In his Anatomy of a Dance, Principal Dancer Daniel Ulbricht explains why performing Justin Peck’s Rodeo: Four Dance Episodes feels particularly American. He paints a picture: “Imagine that you are plowing a field here with your friends, you take a break on a hot day and decide to dance instead.”

  • Anatomy of a Dance: Tiler Peck on A Midsummer Night's Dream

    Tiler Peck breaks down the Divertissement pas de deux in A Midsummer Night’s Dream, explaining why it’s her favorite Balanchine pas de deux to dance and how it feels like it was tailor-made for her and fellow Principal Dancer Tyler Angle.

  • Anatomy of a Dance: Tyler Angle on Herman Schmerman

    Principal Dancer Tyler Angle talks about working with choreographer William Forsythe on the pas de deux in Herman Schmerman, which he dances opposite Tiler Peck. He recalls, “[Fosythe’s] prime directive was ‘just show everybody how much better things are in a skirt.’”

  • Anatomy of a Dance: Silas Farley on THE SLEEPING BEAUTY

    Silas Farley discusses the kaleidoscopic patterns of The Sleeping Beauty’s Garland Dance, the only section of the ballet choreographed by George Balanchine.

  • Anatomy of a Dance: Sara Mearns on THE SLEEPING BEAUTY

    Sara Mearns compares what it’s like to portray both good and evil through the universal language of ballet pantomime in the same scene of The Sleeping Beauty by breaking down her performances as both the villainous Carabosse and the beloved Lilac Fairy.

  • Anatomy of a Dance: Taylor Stanley on Kyle Abraham's THE RUNAWAY

    “I love to move in other ways than a ballet dancer is meant to move,” Taylor Stanley reflects when talking about the first of his two solos in Kyle Abraham’s The Runaway, which is set to a piece from contemporary artist Nico Muhly.

  • Anatomy of a Dance: Spartak Hoxha on Jerome Robbins’ INTERPLAY

    Spartak Hoxha talks about the most difficult aspects of performing the comedic solo from Jerome Robbins’ playful ballet Interplay. “You can’t force being funny,” he says. “It has to just kind of happens naturally.”

  • Anatomy of a Dance: Tiler Peck on Jerome Robbins' OTHER DANCES

    Hear from Tiler Peck about her “heavenly” experience learning how to float on the music in Jerome Robbins’ Other Dances, where she rehearsed the work with one of its original performers: the legendary Mikhail Baryshnikov.

  • Anatomy of a Dance: Sterling Hyltin on George Balanchine's RUBIES

    Sterling Hyltin breaks down the playful and quirky pas de deux in George Balanchine’s Rubies, a singular work in his oeuvre which gives the dancers the chance to add their own flair in this flirtatious, sexy duet.

  • Anatomy of a Dance: Abi Stafford on George Balanchine's EMERALDS

    A gentle and graceful solo in George Balanchine’s Emeralds provides an opportunity for Abi Stafford to step out of her comfort zone, en pointe in sparling adagio set to Gabriel Fauré’s music.

  • Performance

    Anatomy of a Dance: Teresa Reichlen on George Balanchine's DIAMONDS

    Attentiveness and concentration is required to bring George Balanchine’s Diamonds to life, and in the regal pas de deux, Teresa Reichlen elaborates about how she works with Russell Janzen to create a story that feels like the debut of two young royals.

  • Anatomy of a Dance: Sebastian Villarini-Velez on Jerome Robbins' FANCY FREE

    Sebastian Villarini-Velez steps into some iconic shoes taking on Fancy Free’s third sailor solo, requiring some debonair moves and a shake of the hips in a role originated and choreographed by Jerome Robbins himself.

  • Anatomy of a Dance: Harrison Coll on Justin Peck's EASY

    Easy is a deceptive name for Justin Peck’s ballet, says Harrison Coll, with moves that are like a corkscrew and a jump that feels like snowboarding. The trick is making it look as simple as slipping on some sneakers and grooving.

  • Anatomy of a Dance: Craig Hall on AFTERNOON OF A FAUN

    Teaching and dancing in this deceivingly simple Jerome Robbins ballet, according to Ballet Master and former NYCB dancer Craig Hall, requires a particular reflectiveness and focus to fully embody its sensual atmosphere where two dancers share a moment of discovery.

  • Anatomy of a Dance: Peter Walker on DANCE ODYSSEY

    Peter Walker, the choreographer of dance odyssey, shares his artistic process for this final duet, where the slower movement gives the audience an opportunity to appreciate the musicality of Ashley Laracey and Adrian Danchig-Waring’s long-standing dance partnership.

  • Anatomy of a Dance: Ashley Bouder on THE FOUR SEASONS

    The final movement of this Jerome Robbins ballet is a big party for Ashley Bouder that lets her bring sensuality and fun to the pas de deux. It’s also a virtuosic moment, with lots of technical challenges that must be performed with absolute precision.

  • Anatomy of a Dance: Maria Kowroski on MOZARTIANA

    The lead role in this late-career Balanchine work often goes to to the most senior ballerina in the company. Maria Kowroski had to wait her turn, and it was worth it -- the musicality of the work gives her space to interpret the steps in a manner that’s both individual and reflective.

  • Anatomy of a Dance: Sara Mearns on Ratmansky’s NAMOUNA, A GRAND DIVERTISSEMENT

    Sara Mearns takes us into the hardest two minutes that she’s ever performed in her career as in the Ratmansky’s lighthearted and clever ballet, a performance that makes her feel like Superwoman when she’s finished.

  • Anatomy of a Dance: Ashley Bouder on Justin Peck’s YEAR OF THE RABBIT

    Ashley Bouder talks about the artistic process of originating a role, and the great responsibility of setting the tone at the beginning of the ballet, bringing Justin Peck’s visually dynamic and physically challenging choreography to life.

  • Anatomy of a Dance: Megan Fairchild on Ratmansky’s RUSSIAN SEASONS

    Megan Fairchild describes what it’s like to dance with three male partners whom she can’t acknowledge on stage, and who are invisible to her character. She especially highlights the trust that develops between them – which leads to a haunting image of a sleepwalking woman ascending a staircase.

  • Anatomy of a Dance: Tyler Angle on Bigonzetti’s OLTREMARE

    Tyler Angle highlights the precarious element and the highly gymnastic feats in this ballet about a traveling group of immigrants, and how this dramatic pas de deux serves as a microcosm of the whole story.

  • Anatomy of a Dance: Teresa Reichlen on Balanchine’s CHACONNE

    Teresa Reichlen discusses the idiosyncrasies of George Balanchine’s unique variations on classic techniques, which showcases a no-frills focus on the interaction between the score and the choreography.

  • Anatomy of a Dance: Maria Kowroski on Balanchine’s AGON

    Maria Kowroski discusses how this Balanchine classic is, at its root, the story of a relationship. Agon translates as “contest” in Greek, and the ballet’s central pas de deux is a back-and-forth conversation between a couple, manifested in physical form.

  • Anatomy of a Dance: Tyler Angle on CORTÈGE HONGROIS

    In the lavish Balanchine classic Cortège Hongrois, a ballet that pays tribute to the choreography of Marius Petipa, dancer Tyler Angle wants to elevate the audience’s experience through focusing on the small details, considering the specific stops and pauses that make this courtly parade a delight to perform.

  • Anatomy of a Dance: Sara Mearns on LA VALSE

    Sara Mearns reveals all the challenges of dancing with death in Balanchine’s La Valse – including dancing with so much abandon that she risks a sore neck the next day and dealing with an inevitable wardrobe malfunction.

  • Anatomy of a Dance: Jared Angle on LITURGY

    Jared Angle discusses the technical and physical challenges of stepping into a role choreographed by Christopher Wheeldon on former Principal Dancer Jock Soto, and the problems of holding your breath in anticipation while concentrating on choreographically intense moments.

  • Anatomy of a Dance: Laine Habony on Peter Martins’ SWAN LAKE

    Laine Habony gives insight into the teamwork involved in the Corps de Ballet’s first entrance in Swan Lake — and the challenges of not looking like a “lazy swan,” keeping her place in line, and the importance of performing in the correct shoe for intense pointe work.

  • Anatomy of a Dance: Russell Janzen on Peter Martins’ SWAN LAKE

    Russell Janzen talks about the importance of the Black Swan pas de deux in the dramatic action of Swan Lake, and the level of trust required between himself and the ballerina in the role of Odette/Odile (Teresa Reichlen) that helps convey the emotional connection the two characters share.

  • Anatomy of a Dance: Sara Mearns on Symphony in C

    Sara Mearns describes the near-psychic connection that exists between herself and her partner when dancing the adagio in SYMPHONY IN C.

  • Anatomy of a Dance: Anthony Huxley on THE FOUR TEMPERAMENTS

    Anthony Huxley reflects on his fruitless search for perfection in THE FOUR TEMPERAMENTS' Melancolic variation.

  • Anatomy of a Dance: Adrian Danchig-Waring and Jared Angle on RED ANGELS

    Adrian Danchig-Waring and Jared Angle break down the idiosyncratic movements that make RED ANGELS a "study in contrasts".

  • Anatomy of a Dance: Unity Phelan on THE INFERNAL MACHINE

    Unity Phelan walks us through the cat-and-mouse pacing of Peter Martins' THE INFERNAL MACHINE.

  • Anatomy of a Dance: Andrew Veyette on EVERYWHERE WE GO

    Andrew Veyette discusses how a spirit of camaraderie and propulsive movement drive Justin Peck's EVERYWHERE WE GO.

  • Anatomy of a Dance: Sara Mearns on SLAUGHTER ON TENTH AVENUE

    Sara Mearns explores an entirely different side of her dancing when performing as the high-kicking Stripper in Balanchine's vampy SLAUGHTER ON TENTH AVENUE

  • Anatomy of a Dance: Tyler Angle on THE SLEEPING BEAUTY

    Tyler Angle explores how he and his partner can find individuality in the traditional, iconic choreography of the Wedding Pas de Deux in THE SLEEPING BEAUTY, and how dancers can feel more like themselves in classic roles.

  • Anatomy of a Dance: Tiler Peck on THE SLEEPING BEAUTY

    Tiler Peck discusses dancing the most difficult role in the repertory, Aurora in THE SLEEPING BEAUTY.

  • Anatomy of a Dance: Tiler Peck on THE SLEEPING BEAUTY

    Tiler Peck walks us through the Vision Scene of THE SLEEPING BEAUTY and the difficulty of appearing dreamlike after the physical demands of Act I.

  • Anatomy of a Dance: Teresa Reichlen on PRODIGAL SON

    Teresa Reichlen on the art of seduction in George Balanchine’s provocative work THE PRODIGAL SON.

  • Anatomy of a Dance: Megan Fairchild on ALLEGRO BRILLANTE

    Megan Fairchild on the building drama of her solo in ALLEGRO BRILLANTE.

  • Anatomy of a Dance: Lauren Lovette on THE CAGE

    Lauren Lovette discusses the liberating process of getting into the Novice character in Jerome Robbins' experimental work THE CAGE.

  • Anatomy of a Dance: Claire Kretzschmar on Episodes

    Claire Kretzschmar discusses dancing the "Five Pieces" portion in EPISODES and how she relies on her partner to navigate an atmosphere of suspect and the unknown.

  • Anatomy of a Dance: Sara Mearns on Serenade

    Sara Mearns reflects on how the music of SERENADE allows her and her partner to luxuriate in the moment and create new memories onstage.

  • Anatomy of a Dance: Tiler Peck on DANCES AT A GATHERING

    Tiler Peck walks us through the moments of repose in Jerome Robbins' DANCES AT A GATHERING and how they bring out a different side of her dancing.

  • Anatomy of a Dance: Adrian Danchig-Waring on Moves

    Adrian Danchig-Waring walks us through the electrifying silence of Moves’ “angry pas de deux,” choreographed by Jerome Robbins.

  • Anatomy of a Dance: Tyler Angle on Estancia

    Tyler Angle breaks down the small details and big moments that lend magic to the pas de deux in Christopher Wheeldon's ESTANCIA.

  • Anatomy of a Dance: Sterling Hyltin on Hallelujah Junction

    Sterling Hyltin discusses how narrative and storytelling grounds her performance in Peter Martins' Hallelujah Junction.

  • Anatomy of a Dance: Megan Fairchild on BALLO DELLA REGINA

    Megan Fairchild breaks down the basic math that gets her through her favorite variation in Balanchine's BALLO DELLA REGINA.

The Choreographers

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  • Jerome Robbins In His Own Words

    Jerome Robbins, in his own words and illustrated by current and archival performance footage, speaks to his choreographic process, including immersing himself in the score and bringing the best possible movements and storytelling out of the dancers that inspire him.

  • Christopher Wheeldon

    Christopher Wheeldon discusses his artistic process and development, and his love of choreographing works on dancers at New York City Ballet.

  • Jerome Robbins

    A look at Jerome Robbins' extraordinary body of work, bridging Broadway and ballet like no other choreographer before or since.

  • George Balanchine

    Hopeless romantic, pure classicist, intellectual modernist — find out how George Balanchine's many different sides come across in his extraordinary body of work, and how he established the first truly American ballet company.

Behind the Scenes

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  • Design in Motion: A New York City Ballet Fall Fashion Retrospective

    Experience a first-of-its-kind retrospective exhibition that showcases the incredible artistry of NYCB's Costume Shop. On display is the work of twenty-six top fashion designers who collaborated with Marc Happel, Director of Costumes, accompanied by videos documenting each of the collaborations.

  • New York City Ballet Presents: The 2019 Fall Fashion Gala

    NYCB's annual Fall Fashion Gala combines the talents of choreographers and leading fashion designers who join forces and bring new visions to the stage. Lauren Lovette, a principal dancer premiering her third work with the Company, The Shaded Line, collaborated with native New Yorker and couturier Zac Posen. New York City Ballet also celebrates a homecoming for former soloist and current artistic director of BalletMet Edwaard Liang, who partnered with New York-based designer Anna Sui for his ballet Lineage.

  • Choreography & Couture: 2018 Fall Gala

    The beauty of fashion and ballet come together for an unforgettable night as celebrated fashion designers create original costumes for three world premiere ballets at New York City Ballet’s 7th annual Fall Fashion Gala. Gothic visionary Gareth Pugh designs for choreographer Matthew Neenan’s The Exchange, Italian romantic Alberta Ferretti creates a world for 19-year-old choreographer Gianna Reisen in her ballet Judah, and Couturier Giles Deacon illuminates choreographer Kyle Abraham’s The Runaway.

  • Fashion and Movement: The Collaborations Behind New York City Ballet's 2017 Fall Gala

    NYCB's annual Fall Gala combines the talents of choreographers and leading fashion designers, collaborating to bring new visions and ideas to the stage.

  • New York City Ballet Presents UNFRAMED by Annabelle Lopez Ochoa with costumes by Rosie Assoulin

    Designer Rosie Assoulin mirrors the spirit of empowerment that permeates through choreographer Ana Lopez Ochoa’s work UNFRAMED

  • New York City Ballet Presents: TEN IN SEVEN by Peter Walker with costumes by Jason Wu

    Designer Jason Wu and Choreographer Peter Walker bring their art forms and strong perspectives to their collaboration on Walker's piece TEN IN SEVEN

  • New York City Ballet Presents: FOR CLARA by Lauren Lovette with costumes by Narciso Rodriguez

    Choreographer and Principal Dancer Lauren Lovette discusses her close collaboration with Narciso Rodriguez and how his costumes showcase movement and the human form.

  • New York City Ballet Presents: THE DREAMERS by Justin Peck with costumes by Dries van Noten

    The paintings of Mark Rothko provide designer Dries Van Noten with the inspiration for the costuming in Justin Peck's THE DREAMERS

  • Creation in Motion: Five Years of Choreography + Couture

    A retrospective look at NYCB's Fall Gala, an annual celebration of dance and fashion.

  • New York City Ballet Presents The Fall 2015 Collection

    Go behind the scenes as NYCB's Costume Shop works with designers Peter Copping of Oscar de la Renta, Humberto Leon of Opening Ceremony & Kenzo, Marques' Almeida, Zuhair Murad, and Hanako Maeda of ADEAM to create new costumes for ballets by Peter Martins, Justin Peck, Troy Schumacher, Myles Thatcher and Robert Binet for NYCB's 2015 Fall Gala.

  • Form & Function: Designing the Dance

    A behind the scenes look at the 2014 Fall Gala collaboration between fashion designers Thom Brown, Sarah Burton, Carolina Herrera, and Mary Katrantzou with choreographers Peter Martins, Justin Peck, Liam Scarlett, and Troy Schumacher.

  • Ballet/Atelier: CAPRICIOUS MANEUVERS

    The bold colors, graphic elements, and luxe textures of Prabal Gurung's designs meet the physicality and athleticism of Justin Peck's choreography in Capricious Maneuvers.

  • Ballet/Atelier: SPECTRAL EVIDENCE

    Designer Olivier Theyskens brings a vision of pure modernist art to his visceral costumes for choreographer Angelin Prejocaj's Spectral Evidence.

  • Ballet/Atelier: NEVERWHERE

    Iris van Herpen's dramatic designs for Benjamin Millepied's ballet Neverwhere transform the dancers' bodies and defy expectations of traditional ballet costumes.

  • Valentino at New York City Ballet

  • Recreating a Tutu's Splendor

    A documentary short on the recreation of tutus for George Balanchine's Theme and Variations. NYCB is fortunate to have its own costume shop, where the wardrobe staff is able to refurbish, maintain, and even design and create new costumes from scratch.

  • A Crystal Palace: Redesigning SYMPHONY IN C

    A behind the scenes look at the creation of new costumes for Balanchine's iconic Symphony in C. A collaboration between NYCB and Swarovski, designed by our own Director of Costumes Marc Happel, with tiaras and headpieces by Robert Sorrell and earrings by Jamie Wolf.