All stories by Brian Seibert on BroadwayStars

Sunday, September 11, 2022

Review: In John Jasperse’s ‘Visitation,’ Mortality Seduces by Brian Seibert

At N.Y.U. Skirball, an exploration at the edges of beauty and death, with touches of Wagner.

SOURCE: The New York Times Subscription at 02:25PM
Friday, August 26, 2022

Only Connect: Finding a Way Into Kinetic Light’s ‘Wired’ by Brian Seibert

Audio descriptions are one path into this disability arts ensemble’s show. In some ways, these mirror the critic’s job: putting dance into words.

SOURCE: The New York Times Subscription at 03:04PM
Thursday, August 25, 2022

The Kitchen Will Spend Some Creative Time in a Westbeth Loft by Brian Seibert

During a renovation of its Chelsea space, the Kitchen will move to Westbeth, which houses artists, the Martha Graham company and much avant-garde history.

SOURCE: The New York Times Subscription at 10:36AM
Wednesday, August 17, 2022

Review: Sarasota Ballet’s Dusty Baubles and an Ode to Spring by Brian Seibert

The company, a keeper of the great British choreographer Frederick Ashton’s flame, has brought a pleasant and slight program to the Joyce Theater.

SOURCE: The New York Times Subscription at 01:27PM
Friday, August 12, 2022

Review: Kyle Abraham’s Out There ‘Requiem,’ With Nods to Mozart by Brian Seibert

With a score by the innovative electronic musician Jlin, Abraham’s dance has beautiful skeins of motion but lacks cohesive structure.

SOURCE: The New York Times Subscription at 03:14PM
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

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