All stories by Brian Seibert on BroadwayStars

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
Monday, April 8, 2024

A Protest Set to Banjo: Jamar Roberts’s Dance for Hard Times by Brian Seibert

“We the People,” Roberts’s first dance for the Martha Graham Dance Company, finds the rage and resistance hidden in an upbeat score by Rhiannon Giddens.

SOURCE: The New York Times Subscription at 05:03AM
Thursday, April 4, 2024

Review: A Tribute to the Jazz Great Max Roach Meets His Standards by Brian Seibert

Ayodele Casel leads a program celebrating Roach’s centenary that also includes works by Rennie Harris as well as by Ronald K. Brown and Arcell Cabuag.

SOURCE: The New York Times Subscription at 12:23PM
Monday, April 1, 2024

For 50 Years, Ailey II Has Been a Proving Ground by Brian Seibert

As the second company of Alvin Ailey American Dance Theater has evolved, it has trained dancers and choreographers for tenacity as much as technique.

SOURCE: The New York Times Subscription at 05:03AM
Friday, March 29, 2024

Review: An Age-Old Riddle Ginned Up for Postapocalyptic Times by Brian Seibert

The choreographers Baye & Asa usher the Sphinx puzzler into a vaguely menacing landscape.

SOURCE: The New York Times Subscription at 01:24PM
Monday, March 25, 2024

“The White Feather” Looks at the Birth and Death of Ballet in Iran by Brian Seibert

A new work, “The White Feather” is inspired by the history of the Iranian National Ballet, which went dark during the Islamic Revolution and was never revived.

SOURCE: The New York Times Subscription at 01:17PM
Monday, March 18, 2024

On the Menu at Flamenco Fest, Tradition With a Side of Nuttiness by Brian Seibert

At City Center, performers like Olga Pericet and Manuel Liñán knew the rules they were bending.

SOURCE: The New York Times Subscription at 02:17PM
Thursday, March 7, 2024

Review: A Gentle Nightmare (Paging Dr. Freud) by Brian Seibert

Pontus Lidberg’s “On the Nature of Rabbits” at the Joyce Theater is a dance haunted by AIDS.

SOURCE: The New York Times Subscription at 12:58PM
Wednesday, February 28, 2024

Review: ‘Behind the South: Dances for Manuel’ by Sankofa Danzafro by Brian Seibert

The Afro-Colombian company Sankofa Danzafro presents “Behind the South: Dances for Manuel” at the Joyce Theater.

SOURCE: The New York Times Subscription at 03:54PM
Saturday, February 24, 2024

Steve Paxton, Who Found Avant-Garde Dance in the Everyday, Dies at 85 by Brian Seibert

With Judson Dance Theater and elsewhere, he expanded the possibilities of what dance could be, developing works around basic tasks like eating a pear or simply walking.

SOURCE: The New York Times Subscription at 12:34PM
Friday, February 23, 2024

Review: Flowing Along in Alonzo King’s Current by Brian Seibert

“Deep River,” featuring the choreographer’s company, Lines Ballet, has a meditative flow without much grit.

SOURCE: The New York Times Subscription at 01:27PM
Friday, February 16, 2024

Review: A Former ‘Riverdance’ Star Reclaims Irish Heritage by Brian Seibert

Jean Butler’s “What We Hold,” at the Irish Arts Center, is an installation-like work that seeks restrained classicism in a post-“Riverdance” world.

SOURCE: The New York Times Subscription at 02:00PM
Wednesday, February 7, 2024

Review: Showing Off Rock-Solid Technique and Some Erotic Acrobatics by Brian Seibert

Philadanco! returns to New York with four premieres that highlight the dancers’ skills without revealing much deeper artistry.

SOURCE: The New York Times Subscription at 12:38PM
Saturday, January 27, 2024

The Choreographer Wore Pointe Shoes by Brian Seibert

Tiler Peck, a New York City Ballet star, is making her first work for the company. “It’s my opportunity to pass on to the next generation anything that’s been given to me.”

SOURCE: The New York Times Subscription at 05:00AM
Wednesday, January 24, 2024

Dan Wagoner, Acclaimed Modern Dancer, Is Dead at 91 by Brian Seibert

He worked with the Martha Graham and Paul Taylor troupes and then created his own group, Dan Wagoner and Dancers.

SOURCE: The New York Times Subscription at 02:35PM

Review: They Fly. They Spin. They Change How You See the Amazing. by Brian Seibert

In Compagnie Hervé Koubi’s “Sol Invictus” at the Joyce Theater, the dancers’ extraordinary moves are integrated into a poetic vision.

SOURCE: The New York Times Subscription at 01:52PM
Tuesday, January 16, 2024

Bringing a Diversity of Hip-Hop Dance to the Concert Stage by Brian Seibert

The highlight of the street dance festival “Motion/Matter” at the Perelman Performing Arts Center came at the end: an all-styles battle that honored roots.

SOURCE: The New York Times Subscription at 10:00AM

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