Last night’s Tony Awards served up plenty of eye-popping movement from host Ariana DeBose and—mostly—from the musical nominees.

Choreographers Thayne Jasperson and Galen Hooks share some unexpected guidelines for professional rehearsal spaces.

Broadway’s “Illinoise” is an ecosystem, whose many members come together eight times a week to bring Justin Peck’s vision to vibrant life.

What happens when a show’s creative vision includes a total overhaul of the theater’s playing space, eliminating the familiar stage-and-seating setup in favor of something more immersive? What goes down with the dancing when the physical boundaries between the audience and the cast become less defined—or even nonexistent?

In the April 1984 issue of Dance Magazine, associate editor Joan Pikula spoke with Alfonso Ribeiro, Hinton Battle, and Alan Weeks, the trio of dancers leading The Tap Dance Kid on Broadway.

A downtown scrappiness is a mainstay of Rick and Jeff Kuperman’s mindset and aesthetic, making them the ideal choreographic match for “The Outsiders,” a new Broadway musical based on the book by S.E. Hinton and film of the same name.

To the audience of a Broadway show, what’s being presented onstage is crisp, harmonious, and expertly crafted. But in most cases, the production has had a yearslong journey to that polished final product—a journey that often winds through one or more other theaters.

Broadway choreography has long been an amalgam of different social dances and forms like jazz, tap, and ballet. But today’s shows are increasingly using movement makers from genres outside the musical theater world altogether, like experimental dance (David Neumann, Annie-B Parson, Raja Feather Kelly), commercial dance (Sonya Tayeh, JaQuel Knight, Keone and Mari Madrid), modern dance (Camille A. Brown), and physical theater (Steven Hoggett).