All stories by Brian Seibert on BroadwayStars

Saturday, March 27, 2021

Jimmy Gamonet de los Heros Dies at 63; Helped Ballet in Miami by Brian Seibert

He was Miami City Ballet’s resident choreographer before establishing his own company. He later returned to his native Peru to run the National Ballet. He died of Covid-19.

SOURCE: The New York Times Subscription at 06:03PM
Monday, March 22, 2021

Review: At the Guggenheim, They Heart New York and Indoor Dance by Brian Seibert

At a tentative moment in the city’s reopening, Caleb Teicher & Co. inaugurated the in-person return of Works & Process at the Guggenheim Museum.

SOURCE: The New York Times Subscription at 01:41PM
Tuesday, March 16, 2021

What It Means to Break Free: A Tale of Detention, Told in Dance by Brian Seibert

The choreographer Jeremy McQueen’s film “Wild: Act 1” seeks to give voice to young men caught in the criminal justice system.

SOURCE: The New York Times Subscription at 01:06PM
Friday, March 12, 2021

A Rift Over Art and Activism Ripples Through the Performance World by Brian Seibert

A dispute between the director of Peak Performances and an Indigenous choreographer hinged on workplace behavior, power and the boundary between art and social justice.

SOURCE: The New York Times Subscription at 12:19PM
Tuesday, March 9, 2021

Park Avenue Armory Announces an In-Person Spring Season by Brian Seibert

The slate of commissioned works for reduced capacity audiences involves the artists Bill T. Jones, David Byrne and Laurie Anderson.

SOURCE: The New York Times Subscription at 01:00PM
Sunday, February 2, 2020

‘Beyond Babel’ Review: A Fence Separates Star-Crossed Lovers by Brian Seibert

Unpretentious innocence and detailed choreography fuel Keone and Mari Madrid’s West Coast urban dance riff on “Romeo and Juliet.”

SOURCE: The New York Times Subscription at 09:36PM
Wednesday, October 9, 2019

‘For Colored Girls’ Is a Choreopoem. What’s a Choreopoem? by Brian Seibert

This landmark work, “a whole new form of theater,” originated with a poet, Ntozake Shange, dancing.

SOURCE: The New York Times Subscription at 01:13PM
Wednesday, April 10, 2019

The breakdown: Hands! Hips! Hats! The Why and How of Fosse/Verdon Dance Moves by Brian Seibert

To get at the Fosse style, a dance critic breaks down “Who’s Got the Pain?,” the only film number Bob Fosse and Gwen Verdon performed in together.

SOURCE: The New York Times Subscription at 12:00PM
Wednesday, March 13, 2019

Cholly Atkins Taught Motown to Dance. His Moves Get an Update in ‘Ain’t Too Proud.’ by Brian Seibert

The Temptations’ dancing was essential to their allure. Sergio Trujillo makes it more intricate, stylistically varied and narratively sophisticated.

SOURCE: The New York Times Subscription at 10:00AM
Thursday, September 6, 2018

When Straight White Men Dance by Brian Seibert

In Young Jean Lee’s play, with choreography by Faye Driscoll, dance is a way for characters to repair relationships and communicate with one another.

SOURCE: The New York Times Subscription at 08:12AM
Tuesday, May 15, 2018

Critic’s Notebook: Ridiculous! Fabulous! On Broadway, Tapping in Quotation Marks by Brian Seibert

What does tap mean in musicals these days? It’s often used as a sparkly outfit — a symbol of Broadway’s past, danced by nostalgists and drama nerds.

SOURCE: The New York Times Subscription at 12:24PM
Wednesday, January 24, 2018

Review: The Bitter Tears of Dean Moss & Co. by Brian Seibert

“Petra,” by the director-choreographer Dean Moss, riffs on a Fassbinder film and sadomasochistic relationships.

SOURCE: The New York Times Subscription at 05:10PM
Tuesday, January 2, 2018

For Michelle Ellsworth, Practice Makes … More Practice by Brian Seibert

Ms. Ellsworth is a performer whose ambivalence about performing is baked into the title of her new work, “The Rehearsal Artist.”

SOURCE: The New York Times Subscription at 05:49PM
Saturday, October 28, 2017

Review: All Life’s a Swirling Proscenium in ‘The Red Shoes’ by Brian Seibert

The staging is the star in Matthew Bourne’s pass-the-popcorn adaptation of the movie.

SOURCE: The New York Times Subscription at 02:06PM
Thursday, May 18, 2017

What Is a Dance Doing in the Middle of Enda Walsh’s Play? by Brian Seibert

In “Arlington,” a dance segment takes us into the subtext: “the pressure put on a body in confinement.”

SOURCE: The New York Times Subscription at 06:06PM
Friday, September 30, 2016

Review: ‘Pandaemonium’ Gives Unhappiness a Light Touch by Brian Seibert

The show, a hybrid of physical theater and cinema directed by Lars Jan, at New York Live Arts, offers a musical window on a silent couple.

SOURCE: The New York Times Subscription at 11:37AM
Monday, May 23, 2016

Critic's Notebook: In Savion Glover’s ‘Shuffle Along,’ Tap’s Reach Has Its Limits by Brian Seibert

Mr. Glover is joining the cast of this musical, but it has no role for a star dancer, unlike “Jelly’s Last Jam” or “Bring in ’da Noise, Bring in ’da Funk.”

SOURCE: The New York Times Subscription at 06:18PM
Monday, April 18, 2016

Review: Arcane Collective Turns a Beckett Trilogy Into Physical Theater by Brian Seibert

“Return to Absence” and its companion, “Ebb,” at New York Live Arts, took a silent-movie approach to adapting “Molloy,” “Malone Dies” and “The Unnamable.”

SOURCE: The New York Times Subscription at 05:19PM
Thursday, February 4, 2016

‘Cabin in the Sky’: Translating a Dated Body Language by Brian Seibert

The musical, mostly forgotten since the 1940s, will be choreographed by Camille A. Brown for the Encores! series at City Center.

SOURCE: The New York Times Subscription at 11:34AM
Thursday, January 7, 2016

Maurice Hines Opens His Heart in ‘Tappin’ Thru Life’ by Brian Seibert

Mr. Hines, who has been performing for most of his life, uses his autobiographical show to teach the next generation and to keep memories alive.

SOURCE: The New York Times Subscription at 05:25PM
Wednesday, January 6, 2016

In ‘Fiddler,’ a Balancing Act to Rival Tevye’s by Brian Seibert

Hofesh Shechter had never choreographed for a Broadway show, but his childhood experience led him to embrace the challenge of adjusting the work of Jerome Robbins.

SOURCE: The New York Times Subscription at 03:12PM
Sunday, December 20, 2015

Review: ‘Bolshoi Babylon,’ Russia’s Famed Ballet Troupe in a Scandal’s Glare by Brian Seibert

This HBO documentary on the Bolshoi Ballet, directed by Nick Read, tells the story of the 2013 acid attack on its artistic director, arranged by a soloist in the troupe.

SOURCE: The New York Times Subscription at 10:52PM
Thursday, December 17, 2015

Review: ‘Antigona’ Is Noche Flamenca’s Teeming Take on the Greek Tragedy by Brian Seibert

Settling into a six-week run at West Park Presbyterian Church, the troupe has found ways to subtly mirror and amplify the emotions of its star.

SOURCE: The New York Times Subscription at 02:16PM
Wednesday, December 2, 2015

In ‘Double It,’ Going for That Circus Atmosphere by Brian Seibert

Chen Shi-Zheng, who created the pop-opera “Monkey: Journey to the West,” encourages his troupe of young acrobats to goof off in his new production.

SOURCE: The New York Times Subscription at 11:36AM
Wednesday, November 11, 2015

Review: Michael Flatley’s New Show Has Unicorns, Rainbows and Some Footwork, Too by Brian Seibert

“Lord of the Dance: Dangerous Games” is your last chance to watch Mr. Flatley dancing. And with him, you’ll get flames, fog-banks and explosions.

SOURCE: The New York Times Subscription at 03:33PM
Thursday, October 15, 2015

Review: ‘A Ballerina’s Tale’ Chronicles the Rise of Misty Copeland by Brian Seibert

Nelson George’s documentary delves into the talent and drive — and the career-threatening injuries — of American Ballet Theater’s first black female principal dancer.

SOURCE: The New York Times Subscription at 11:33AM
Friday, April 17, 2015

Christopher Wheeldon’s ‘An American in Paris’ Brings Ballet Values to Broadway by Brian Seibert

As director and choreographer of “An American in Paris” at the Palace Theater, Mr. Wheeldon proves the power of wordless storytelling.

SOURCE: The New York Times Subscription at 06:26PM
Wednesday, November 12, 2014

Dance Review: American Dance Machine Troupe Debuts by Brian Seibert

American Dance Machine for the 21st Century, a repertory company for musical-theater dance, made its debut at the Joyce Theater on Tuesday.

SOURCE: The New York Times Subscription at 04:58PM
Friday, September 12, 2014

City Ballet Stars Land Major Musical Theater Roles by Brian Seibert

In a mix of happenstance and connections, three members of New York City Ballet will soon perform in major musicals.

SOURCE: The New York Times Subscription at 05:32PM
Wednesday, January 15, 2014

Sarasota Ballet Signs Artistic Director to 10-Year Contract by Brian Seibert

Iain Webb, a former dancer with The Royal Ballet, was first appointed to the position in 2007 on a four-year contract.

SOURCE: The New York Times Subscription at 01:28PM
Wednesday, November 27, 2013

Critic’s Notebook: ‘After Midnight’ Harks Back to the Cotton Club Days by Brian Seibert

The only way virtuosic jazz tap has made it onto Broadway this century is in a vehicle that purports to jump back eight decades.    

SOURCE: The New York Times Subscription at 05:11PM

All that Chat

REOPEN BROADWAY SEASON
Sep 14, 2021: Chicago - Ambassador Theatre
Oct 17, 2021: Dana H. - Lyceum Theatre
Mar 28, 2022: Plaza Suite - Hudson Theatre
Apr 07, 2022: The Minutes - Studio 54
Apr 28, 2022: Macbeth - Lyceum Theatre