All stories by Brian Seibert on BroadwayStars

Thursday, October 31, 2024

Review: Bill T. Jones’s ‘Still/Here’ Returns After 30 Years by Brian Seibert

At the Brooklyn Academy of Music, Bill T. Jones’s “Still/Here” returns, free of the AIDS-era context in which it premiered.

SOURCE: The New York Times Subscription at 12:42PM
Tuesday, October 29, 2024

Helen Pickett Brings ‘Crime and Punishment’ to American Ballet Theater by Brian Seibert

“Why can’t ballet be a roller coaster?” Helen Pickett said of her and James Bonas’s full-length work, premiering this week at American Ballet Theater.

SOURCE: The New York Times Subscription at 11:21AM
Monday, October 28, 2024

Paul Taylor Dance Company Takes Advantage of the Empty N.Y.C. Office Spaces by Brian Seibert

The Paul Taylor Dance Company joins a very short list of dance troupes with substantial real estate in one of the world’s most expensive markets.

SOURCE: The New York Times Subscription at 05:03AM
Friday, October 25, 2024

Review: Porcupines of Plastic and Other Provocations by Brian Seibert

The choreographer Nadia Beugré, who brought her “Quartiers Libres Revisited” to New York Live Arts, likes to keep her audience close. And involved.

SOURCE: The New York Times Subscription at 01:03PM
Thursday, October 24, 2024

Review: The Miraculous Simplicity of Patti Smith’s Childhood by Brian Seibert

At the Baryshnikov Arts Center, an adaptation of Smith’s poem-memoir “Woolgathering” features Smith reciting, others dancing and a surprise guest.

SOURCE: The New York Times Subscription at 12:34PM
Friday, October 11, 2024

A Choreographer’s Errands Into the Wilderness by Brian Seibert

The Greek-born choreographer Lenio Kaklea made her American debut at Governors Island, a fitting spot for work about the boundaries between nature and culture.

SOURCE: The New York Times Subscription at 01:09PM
Monday, October 7, 2024

Osvaldo Golijov’s ‘Ainadamar’ Opera Makes Its Met Debut by Brian Seibert

Osvaldo Golijov’s opera about Federico García Lorca makes its Met debut in a dance-heavy production, directed by the choreographer Deborah Colker.

SOURCE: The New York Times Subscription at 05:02AM
Wednesday, October 2, 2024

Review: Finding the Right Rep for a Repertory Company by Brian Seibert

Dayton Contemporary Dance Company brought a mixed bill to the Joyce Theater, including a Paul Taylor classic and a dance by the great Rennie Harris.

SOURCE: The New York Times Subscription at 01:17PM
Monday, September 30, 2024

Dancing in an Emotional Washing Machine by Brian Seibert

Botis Seva, a rising British choreographer who mixes hip-hop and contemporary dance, brings his Olivier Award-winning “BLKDOG” to New York.

SOURCE: The New York Times Subscription at 05:05AM
Friday, September 20, 2024

Review: Blood, Sex, Murder and Dance (No Screams) by Brian Seibert

Marikiscrycrycry examines fresh territory in “Goner,” but his ideas remain theatrically inert.

SOURCE: The New York Times Subscription at 11:20AM
Sunday, September 8, 2024

María Benítez, Dancer Who Championed Flamenco, Is Dead at 82 by Brian Seibert

“People came from everywhere to see her shows,” an admirer said — including, on at least one occasion, the ballet superstar Mikhail Baryshnikov.

SOURCE: The New York Times Subscription at 05:19PM
Friday, September 6, 2024

Review: Sharon Eyal’s ‘R.O.S.E.’ Throws a Rave at the Armory by Brian Seibert

The choreographer Sharon Eyal turns the Drill Hall of the Armory into a club at which her dancers appear at intervals, behaving oddly.

SOURCE: The New York Times Subscription at 12:39PM
Monday, July 29, 2024

In New York, Van Cleef Becomes the ‘Fairy Godmother’ of Dance by Brian Seibert

The jeweler’s generously funded Dance Reflections program is having a major influence on the city’s scene. How much impact is too much?

SOURCE: The New York Times Subscription at 05:02AM
Tuesday, July 23, 2024

Under Fabric and Around Sculptures, Dancers Respond to Art by Brian Seibert

Jodi Melnick’s new work is performed throughout a gallery installation, while one by Annie-B Parson sprawls in a sculpture park.

SOURCE: The New York Times Subscription at 05:01AM
Wednesday, July 17, 2024

‘Ain’t Done Bad’ Review: Jakob Karr’s Dance to Orville Peck Songs by Brian Seibert

Jakob Karr, from “So You Think You Can Dance?,” has conceived and choreographed a show set to songs by the country musician Orville Peck.

SOURCE: The New York Times Subscription at 05:03AM
Monday, July 15, 2024

The Yoda-Like Mentor Behind the Masters of Tap Dance by Brian Seibert

Michelle Dorrance’s new work, “Shift.,” honors Gene Medler, the teacher who founded the North Carolina Youth Tap Ensemble.

SOURCE: The New York Times Subscription at 03:04PM
Wednesday, July 10, 2024

Review: A Mixed Bill’s Highlight Bodes Well for the Future by Brian Seibert

The best dance by far on Smuin Contemporary Ballet’s program at the Joyce is by Amy Seiwert, who is about to be the company’s director.

SOURCE: The New York Times Subscription at 11:51AM
Monday, July 1, 2024

There’s Trouble Right Here in Tap City by Brian Seibert

Tap festivals have been pivotal in passing on tradition. But New York’s has been canceled and the institution that supports it faces an uncertain future.

SOURCE: The New York Times Subscription at 05:02AM
Wednesday, June 26, 2024

‘Woolf Works’ Review: A Literary Ballet’s Missteps by Brian Seibert

Wayne McGregor’s 2015 work, making its New York debut with American Ballet Theater, fails to make dance poetry of Virginia Woolf’s novels.

SOURCE: The New York Times Subscription at 12:27PM
Monday, June 17, 2024

After 40 Years of Dance, What Happens to a Dream Fulfilled? by Brian Seibert

Jawole Willa Jo Zollar, who founded Urban Bush Women four decades ago, says goodbye to it with a final work.

SOURCE: The New York Times Subscription at 05:04AM
Sunday, June 16, 2024

Review: Camille A. Brown Still Holds the Harlem Stage by Brian Seibert

It was a sign of her generosity that her program this weekend was almost all work by her associates.

SOURCE: The New York Times Subscription at 12:32PM
Wednesday, June 5, 2024

Review: ‘What’s the Point?’ Oona Doherty’s Resonant Ambivalence by Brian Seibert

The choreographer’s “Navy Blue” is the rare work to express the emotions of life in pandemic lockdown.

SOURCE: The New York Times Subscription at 01:55PM
Monday, May 27, 2024

Voices Carry at La MaMa, but Only a Few Rise Above the Din by Brian Seibert

The La MaMa Moves! Dance Festival 2024 featured a high ratio of talking to dancing.

SOURCE: The New York Times Subscription at 02:05PM
Tuesday, May 14, 2024

Enhancing Broadway, by Any Bodily Means Necessary by Brian Seibert

The choreographers nominated for Tony Awards this year have a broader vision than usual of the possibilities of dance in theater.

SOURCE: The New York Times Subscription at 05:03AM
Wednesday, May 8, 2024

Review: Need Good Dances? Try Tharp by Brian Seibert

The Gibney Company’s program at the Joyce Theater includes two Twyla Tharp dances from the 1970s.

SOURCE: The New York Times Subscription at 02:16PM
Monday, May 6, 2024

A Master of ‘Subtle Dazzle’ and a Quiet Force in Downtown Dance by Brian Seibert

Carol Mullins, who has been lighting boundary-pushing shows at Danspace Project since the 1970s, will be honored at its 50th anniversary.

SOURCE: The New York Times Subscription at 11:16AM
Friday, May 3, 2024

Review: At New York City Ballet’s Gala, the Usual With a Twist by Brian Seibert

The two premieres — one by Justin Peck, one by Amy Hall Garner — were gala-style pieces that felt more fresh than rote.

SOURCE: The New York Times Subscription at 12:29PM
Thursday, May 2, 2024

‘Message in a Bottle’ Review: Sending Out an S.O.S., Dancing to Sting by Brian Seibert

With choreography by Kate Prince and 27 songs by Sting, this story of refugees has impressive dance moments, but handles narrative and emotion tritely.

SOURCE: The New York Times Subscription at 01:09PM
Wednesday, April 24, 2024

Review: Noche Flamenca, Raising the Dead With Goya by Brian Seibert

In “Searching for Goya,” at the Joyce Theater, the troupe uses the painter’s images as frames for flamenco dances.

SOURCE: The New York Times Subscription at 02:44PM
Wednesday, April 17, 2024

Review: Limbs Hook Onto Limbs as Bodies Endlessly Intertwine by Brian Seibert

The Sydney Dance Company’s “ab [intra]” at the Joyce Theater is impressive but chilly.

SOURCE: The New York Times Subscription at 12:17PM
Monday, April 15, 2024

At Harlem Stage, Bringing Downtown Dance Uptown by Brian Seibert

As Harlem Stage’s E-Moves dance series turns 25, Bill T. Jones and other major choreographers discuss its impact on Black dance in New York.

SOURCE: The New York Times Subscription at 05:03AM

All that Chat

2024-2025 BROADWAY SEASON
Jun 05, 2024: Home - Todd Haimes Theatre
Jul 11, 2024: Oh, Mary! - Lyceum Theatre
Jul 30, 2024: Job - Hayes Theater
Sep 12, 2024: The Roommate - Booth Theatre
Nov 14, 2024: Tammy Faye - Palace Theatre
Dec 12, 2024: Cult of Love - Hayes Theater
Dec 19, 2024: Gypsy - Majestic Theatre
Mar 15, 2025: Purpose - Hayes Theater
Apr 01, 2025: Glengarry Glen Ross
Apr 10, 2025: Smash - Imperial Theatre
TBA: Titanic