All stories by Brian Seibert on BroadwayStars

Wednesday, July 27, 2022

Review: Dormeshia Coasts on Her Tap Mastery in ‘Rhythm Is Life’ by Brian Seibert

A jazz trio and three other dancers join Dormeshia for a classy, classic program filled with swing.

SOURCE: The New York Times Subscription at 02:42PM
Sunday, July 24, 2022

Review: Finding the Heat in ‘Sacred Earth’ by Brian Seibert

At Ragamala Dance Company’s nature-themed performance at BRIC Celebrate Brooklyn!, the strongest connection was between music and dance, our critic writes.

SOURCE: The New York Times Subscription at 01:03PM
Thursday, July 21, 2022

She Wants to Heal the World Through Second Line by Brian Seibert

Michelle N. Gibson brings her one-woman show exploring the origins of New Orleans second line, “Takin’ It to the Roots,” to Jacob’s Pillow.

SOURCE: The New York Times Subscription at 05:00AM
Sunday, July 3, 2022

Review: In Pam Tanowitz’s ‘Song of Songs’ the Beloved Is Beauty by Brian Seibert

Her new dance at Bard, a collaboration with the composer David Lang, is a refined, restrained and sometimes breathtaking response to the biblical poem.

SOURCE: The New York Times Subscription at 02:57PM
Thursday, June 30, 2022

America, Prismatic and Distressed, Seen Through Dance by Brian Seibert

At Jacob’s Pillow, the Ted Shawn Theater has reopened with the inclusive “America(na) to Me” and a premiere by Ronald K. Brown/Evidence.

SOURCE: The New York Times Subscription at 01:11PM
Wednesday, June 22, 2022

‘Fronteras’ Review: Flamenco Within and Beyond a Boundary by Brian Seibert

Flamenco Vivo Carlota Santana’s show “Fronteras” at the Joyce Theater has a group of very good and remarkably equal dancers sharing a bounded space.

SOURCE: The New York Times Subscription at 05:37PM

Review: Flamenco Within and Beyond a Boundary by Brian Seibert

Flamenco Vivo Carlota Santana’s show “Fronteras” at the Joyce Theater has a group of very good and remarkably equal dancers sharing a bounded space.

SOURCE: The New York Times Subscription at 01:02PM
Sunday, June 19, 2022

‘God’s Fool’ Review: A Singing, Beat Poet Saint by Brian Seibert

In Martha Clarke’s piece about St. Francis of Assisi, at La MaMa’s Ellen Stewart Theater, the song carries the dance.

SOURCE: The New York Times Subscription at 02:26PM
Thursday, June 16, 2022

Review: Watching Paul Taylor’s Road Not Taken (and Lessons Learned) by Brian Seibert

Programs at the Joyce Theater feature early works that show how Taylor integrated the radical and the popular.

SOURCE: The New York Times Subscription at 03:33PM
Friday, June 10, 2022

Review: The Kids (in New Hands) Are Still All Right by Brian Seibert

The student dancers looked good in Kids Dance, the performance troupe of Ballet Tech, which has passed from Eliot Feld to Dionne Figgins.

SOURCE: The New York Times Subscription at 02:04PM
Thursday, June 9, 2022

Stella Abrera to Run the ABT Jacqueline Kennedy Onassis School for a Year by Brian Seibert

Abrera, a former principal dancer with American Ballet Theater, has been named acting director of the school.

SOURCE: The New York Times Subscription at 05:51PM
Wednesday, June 8, 2022

Tony Nominees for Choreography Put the Past in Motion by Brian Seibert

Musicals like “MJ” and “Paradise Square” take on dance of the past — with some missed opportunities. But the dance in For Colored Girls” helps us to “remember what cannot be sa…

SOURCE: The New York Times Subscription at 03:37PM
Sunday, June 5, 2022

Review: ‘Third Bird’ Doesn’t Quite Land by Brian Seibert

The fashion designer Isaac Mizrahi is a terrific host, but this production at the Guggenheim Museum is awfully shaggy for an avian story, our critic writes.

SOURCE: The New York Times Subscription at 03:41PM
Thursday, June 2, 2022

‘You Are the Show’: A Hudson Valley Outpost of the Avant-Garde by Brian Seibert

PS21 presents work that challenges and invites, like performances by QDance, a Nigerian troupe whose leader says, “I am not your entertainment.”

SOURCE: The New York Times Subscription at 07:50PM
Thursday, May 26, 2022

‘Homegrown’: At BAM, DanceAfrica Keeps It All in the Family by Brian Seibert

The year’s festival features local troupes. “The stories and music and dance that evolved here were just as important” as those from Africa, its director says.

SOURCE: The New York Times Subscription at 06:00AM
Wednesday, May 18, 2022

Review: The Stephen Petronio Company Reconnects by Brian Seibert

The group returns to the Joyce with a program that includes a new work, a Trisha Brown revival and a 2006 Petronio dance.

SOURCE: The New York Times Subscription at 12:42PM
Monday, May 16, 2022

Review: Breathing, Dancing Art at the Met Museum by Brian Seibert

Bijayini Satpathy, a MetLiveArts artist in residence, pushed the borders of her Odissi classicism to meet the art around her.

SOURCE: The New York Times Subscription at 02:15PM
Friday, May 6, 2022

‘Last Ward’ Review: Ashes to Ashes, Dirt to Dirt by Brian Seibert

Yaa Samar! Dance Theater’s production at Gibney is an uncommonly deft combination of dance and verbal theater.

SOURCE: The New York Times Subscription at 02:42PM
Sunday, May 1, 2022

Finding a Home at La MaMa Moves! by Brian Seibert

This year’s dance festival pays homage to a Butoh founder, tango’s encounters, the pop group TLC and more.

SOURCE: The New York Times Subscription at 03:19PM
Friday, April 29, 2022

Review: Sasha Waltz’s Action Painting Swirls to ‘In C’ by Brian Seibert

Waltz’s dance to Terry Riley’s seminal score, at the Brooklyn Academy, is loose and cheerful, giving a spatial sense of the suspension of time.

SOURCE: The New York Times Subscription at 01:54PM
Friday, April 22, 2022

Review: An Afrofuturist Trip to the Lunarverse by Brian Seibert

The choreographer and dancer Shamel Pitts’s “Black Hole: Trilogy and Triathlon” at New York Live Arts is stylish and sincere.

SOURCE: The New York Times Subscription at 12:48PM
Wednesday, April 20, 2022

Review: The Limón Dance Company Navigates the Present by Brian Seibert

The company, belatedly celebrating its 75th anniversary, presented a program with works by Limón and Doris Humphrey and a premiere by Olivier Tarpaga.

SOURCE: The New York Times Subscription at 02:22PM

‘Artists Are Migrants’: A Nigerian-Irish Dancer’s Multiplicities by Brian Seibert

The Lagos-born, Ireland-raised dancer Mufutau Yusuf comes to the Irish Arts Center with “Owe,” a solo, he says, “about my ancestry, my Yoruba heritage.”

SOURCE: The New York Times Subscription at 10:49AM
Thursday, April 14, 2022

The Story of Cinco de Mayo in Dance by Brian Seibert

Calpulli Mexican Dance Company is using the holiday to share the culture of the Puebla region with New York audiences this weekend.

SOURCE: The New York Times Subscription at 12:47PM
Sunday, April 10, 2022

Review: Dance Theater of Harlem’s Soulful Ballet to Stevie Wonder by Brian Seibert

Robert Garland’s “Higher Ground” combines classical ballet and vernacular Black dance to sharpen the social commentary in Wonder songs from the ’70s.

SOURCE: The New York Times Subscription at 01:25PM
Thursday, March 31, 2022

Storyboard P: Where Is the Place for a Genius of Street Dance? by Brian Seibert

The gap between his category-defying artistry and his career options seems to expose a missing lane in American culture.

SOURCE: The New York Times Subscription at 10:00AM
Wednesday, March 30, 2022

Review: A Tap-Dancing Soul in Spirit-World Limbo by Brian Seibert

In “Once Upon a Time Called Now,” the tap dancer and musician Michela Marino Lerman tries something new: a theatrical narrative.

SOURCE: The New York Times Subscription at 01:22PM
Friday, March 25, 2022

Review: The Paul Taylor Company Returns With a New Voice by Brian Seibert

At City Center, the company’s season began with a debut by its first resident choreographer, Lauren Lovette, and two masterly works by Taylor.

SOURCE: The New York Times Subscription at 03:02PM
Wednesday, March 23, 2022

Review: Ronald K. Brown’s Messages of Resilience by Brian Seibert

In a program at the Joyce Theater, Brown’s company, Evidence, presented three dances that aren’t new but seem newly meaningful.

SOURCE: The New York Times Subscription at 01:39PM
Wednesday, March 16, 2022

Trinity Irish Dance Company Review: Those Flashing, Percussive Feet by Brian Seibert

This Chicago company presents Irish dance of great skill, while trying, sometimes successfully, to modernize and invigorate the tradition.

SOURCE: The New York Times Subscription at 04:18PM
Wednesday, March 9, 2022

Review: The Virtuoso Sara Mearns Considers Other Virtuosities by Brian Seibert

In “Piece of Work” at the Joyce, Mearns dives into collaborations with choreographers outside the ballet world, including Jodi Melnick and Beth Gill.

SOURCE: The New York Times Subscription at 02:28PM

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