All stories by Brian Seibert on BroadwayStars

Thursday, July 29, 2021

On the Road With Ballet Theater. Who Needs Red Velvet Seats. by Brian Seibert

The company’s response to pandemic cancellations? An eight-city tour with sleeper buses and a foldout stage to perform outdoors.

SOURCE: The New York Times Subscription at 05:00AM
Friday, July 23, 2021

A Vogue Legend, Still Enlarging Circles of Pleasure by Brian Seibert

Archie Burnett, dancer, teacher and a father of the House of Ninja, has a show at Jacob’s Pillow. With his cast, “it’s like a family love affair.”

SOURCE: The New York Times Subscription at 09:00AM
Sunday, July 11, 2021

Review: A Better Day Dawns With Pam Tanowitz’s Witty New Dance by Brian Seibert

This choreographer sculpts outdoor space, with her performers creating new dimensions in a Bard SummerScape production.

SOURCE: The New York Times Subscription at 03:37PM
Friday, July 2, 2021

Review: Jacob’s Pillow Is Back, With a Tapping Tour of the Grounds by Brian Seibert

Rain interfered with Dorrance Dance’s evening program, but the ensemble’s matinee was a playful, inviting reintroduction to the festival.

SOURCE: The New York Times Subscription at 12:55PM
Wednesday, June 30, 2021

‘It Taunts the Eye’: Footwork’s Fast Moves Loom Over Chicago by Brian Seibert

Projected onto the Merchandise Mart, “Footnotes” honors a style that’s become popular around the world but isn’t always given recognition in its hometown.

SOURCE: The New York Times Subscription at 10:00AM
Thursday, June 24, 2021

At Ailey’s Spring Gala, Different Kinds of Hope by Brian Seibert

The gala features five new pieces, including one by Jamar Roberts, whose recent work confirms his importance.

SOURCE: The New York Times Subscription at 09:00PM
Friday, June 11, 2021

Review: Christopher Wheeldon Creates a Memorable Realm by Brian Seibert

Wheeldon’s “Curious Kingdom,” on a Pacific Northwest Ballet program with two premieres, achieves moments of exquisite beauty.

SOURCE: The New York Times Subscription at 03:22PM
Thursday, May 27, 2021

DanceAfrica Turns Its (Virtual) Gaze to Haiti by Brian Seibert

The festival features a film that shows the light and empowerment of vodou, a tradition of danced communication and communion with ancestors and spirits.

SOURCE: The New York Times Subscription at 01:26PM
Monday, May 24, 2021

Review: The Charms and Pitfalls of Dancing the Gods on Camera by Brian Seibert

This year’s iteration of the Indian dance festival, in two programs, is online; with Surupa Sen, what’s gained is emotional intimacy.

SOURCE: The New York Times Subscription at 12:47PM
Saturday, May 22, 2021

Review: Bill Robinson’s Rags-to-Riches Tap Tale by Brian Seibert

“The Mayor of Harlem,” a streaming Tap Family Reunion production, features period-style dance numbers by an adept cast of hoofers.

SOURCE: The New York Times Subscription at 08:00AM
Sunday, May 16, 2021

Three Views of ‘The Motherboard Suite,’ Indoors, Outdoors and Online by Brian Seibert

Bill T. Jones brings a program of Saul Williams’s work to a New York Live Arts festival of ideas as audiences adjust to the city’s reopening.

SOURCE: The New York Times Subscription at 05:53PM
Wednesday, May 12, 2021

From the Lindy Hop to Hip-Hop in One Improvising Body by Brian Seibert

To watch LaTasha Barnes dance is to watch historical distance collapse.

SOURCE: The New York Times Subscription at 10:00AM
Friday, May 7, 2021

Review: Mark Morris Live(ish) Seems Almost Like Old Times by Brian Seibert

The Mark Morris Dance Group livestreamed a performance that featured a new work of substance, set to Brahms waltzes.

SOURCE: The New York Times Subscription at 01:44PM
Wednesday, May 5, 2021

Review: Walking in Light on the High Line by Brian Seibert

Okwui Okpokwasili’s processional is a homage and farewell to Simone Leigh’s giant bronze bust, “Brick House.”

SOURCE: The New York Times Subscription at 01:41PM
Friday, April 9, 2021

Review: Kyle Abraham’s Calm Control of Bodies and Space by Brian Seibert

The choreographer’s “When We Fell,” for New York City Ballet, is among the most beautiful dance films of the pandemic.

SOURCE: The New York Times Subscription at 01:53PM
Friday, April 2, 2021

Review: Dreamy Cowboys and a Ballet Bath by Brian Seibert

At Pacific Northwest Ballet, two online premieres: Donald Byrd’s has a Western theme and Alejandro Cerrudo’s undulates.

SOURCE: The New York Times Subscription at 01:30PM
Monday, March 29, 2021

Review: Looking for Crickets, and Coming Up Crickets by Brian Seibert

The choreographer Madeline Hollander’s “Flatwing,” at the Whitney, considers a genetic mutation that silences some male crickets.

SOURCE: The New York Times Subscription at 01:10PM
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

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