With more than 60 years of tiptoe-twirling history, the New York City Ballet boasts a seasoned, dedicated dance company that thrills audiences and ballet shoes at every performance. With each Friday- or Saturday-evening ticket purchase through June 12, Groupon users snag a companion ticket for free, allowing members, and whichever of their cultured friends has the brownest nose, to gorge eyes on the company's famously lush and lithe ballet performances. Dance lovers also score admission for two to up to four working rehearsals during the repertory season, along with two spots at New York City Ballet's curiosity-satisfying 90-minute seminars, where the company and special guests reveal the creative clockwork behind their sumptuous productions. Members also get a 15% discount at New York City Ballet's gift shop, a subscription to the company newsletter, advance notice of ticket sales, and the ability to reach, en pointe, the top cabinet where their roommate hides the cookies.
Nearly a century ago, the Hippodrome opened as a combination movie palace and vaudeville theater, spending more than 70 years hosting big names such as Bob Hope and Frank Sinatra. Following a double-decade period of slow business and bad hairstyles, the Hippodrome closed down in 1990. Now, however, after an exhaustive restoration project that reanimated the theater’s chandelier-lit arches, the mural above the proscenium stage, and the grand-theater boxes that hearken back to opera’s heyday, the Hippodrome reopens to the delight of Baltimore’s cultural landscape.
The globetrotting careers of dancers Leonard and Chiara Ajkun inspired the scope of their very own Ajkun Ballet Theatre. Here, they continue to direct classic ballets and choreograph an average of five new programs each year. The company’s expansive repertoire ranges from large-scale productions such as Swan Lake, with its famous robot battles, to one-act ballets such as Spartacus.
Presiding over the south side of the Lincoln Center's main plaza, the David H. Koch Theater is undergoing a 10-year renovation to keep it as stunning as the day it opened during the 1964 World's Fair. Even without restoration, the theater's 7,875-square-foot promenade creates a magnificent backdrop to the plaza's fountain—particularly at twilight, when the floors of inlaid travertine marble glow in golden harmony with 40-foot ceilings filigreed with gold leaf. Classical statuary bookends the lobby, and four balcony levels give visitors plenty of vantage points during intermission.
For decades, patrons of the New York City Ballet (and, until 2008, the New York City Opera) have ascended the spiral staircases and bathed in the light of the auditorium's spherical chandelier, the luminous center of the ceiling's ornate flower pattern. The David H. Koch Theater also plays host each year to a variety of local and international dance troupes, such as the Paul Taylor Dance Company, Shen Yun Performing Arts, and the Nederlands Dans Theater.
Today's side deal gets you one ticket in the section of your choosing to see, hear, and feel From Sea to Shining Sea: Music and Artists from the Atlantic to the Pacific at the Lincoln Center put on by the Distinguished Concerts International New York production company. For $9, you get one side-orchestra seat, normally $20, putting you on the sides of the ground floor in the largest portion of the theater's seats. For $29, you get one center-orchestra seat, normally $60, placing you directly in front of the action. Select your seating section with the links above.
Dubbed “the punk ballerina” for her audacity, ambition, and pure raw talent, Karole Armitage exploded onto the dance scene in 1981 with her groundbreaking work Drastic-Classicism. Since then, the artist has held numerous directorial positions at companies around the world and created genre-bending works inspired by such topics as theoretical physics, 16th-century Florence, and dance. Specializing in an aesthetic as precise as it seems improvised, Armitage and her daring company strive to challenge the preconceived notions of both audiences and the dance establishment.