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A recent biography dives into the choreographer's role as both an artist and figure of early American modernism.

The tight-knit troupe, whose unique training has been at least as influential as its form-bending work, ends its 30-year run in a typically unlikely way: with a take on 'A Christmas Carol.'

I do not envy those tasked with evoking the kinetic, effervescent, impermanent art of dance using the stolid, literal written word. For nearly a decade, I reviewed dance performances for the Columbus Dispatch, the metro daily newspaper in Columbus, Ohio. What I saw was often exciting — the hushed solemnity of George Balanchine’s Serenade, the New York vim and vigor of Jerome Robbins’s Fancy Free, the disorderly mischief of the drag troupe Les Ballets Trockadero de Monte Carlo.