349 stories by "Brian Seibert"
Christopher Wheeldon’s “Oscar,” performed by the Australian Ballet, is constructed with skill but is disappointingly timid.
The Australian theater collective Pony Cam and Israel’s Lior Tavori Dance Company were among the offerings in the final three of this year’s programs.
Robert Fairchild’s dance-theater work premiering at Fall for Dance posits that Shakespeare poured the pain of same-sex longing into “Romeo and Juliet.”
He was best known for the influential 1976 guide “Poor Dancer’s Almanac,” which aimed to help starving artists survive in New York.
The bassist Esperanza Spalding and choreographer Kayla Farrish are teaming up to improvise together, mending the frayed relationship between their arts.
His dreamlike, expressionistic style influenced the vividly theatrical works of the German choreographer Pina Bausch, an early collaborator.
At the Joyce Theater, Philadanco! premiered a new dance of civic pride by Rennie Harris that’s oddly muffled.
Morris’s dance troupe presents “Dances to American Music,” three programs at the Joyce Theater.
“When I’m no longer living, can this place exist?” Robert Wilson wondered in a film about his Long Island art incubator. This month, its annual festival will go on without him.
While it was good to see again Rachid Ouramdane’s moving duet from a decade ago, Akram Khan’s new piece was unconvincing.
“Momentary Reprise,” a program at Bard SummerScape, spanned Childs’s career, showing how she settled on a style in the 1970s and stuck with it.
Thanks to a $50 million grant, a new festival has been born. Kyle Abraham helps to curate the first edition, which is part of the center’s Summer of Dance.
Kids Dance, from the New York Public School for Dance, is debuting a work featuring alumni. That’s not the only way former students are involved with the school.
Julie Mehretu and John Jasperse are collaborating at the Marian Goodman Gallery: “How do we bring something to each other’s work that feels productive?”
Maureen Footer’s new biography, “Feel the Floor,” shows how a little-known Black choreographer taught white stars all the latest moves.
Breaking down the choreographic allusions in “Schmigadoon!” and “Cats: The Jellicle Ball,” two gotta-dance, Tony-nominated shows.
Breaking down the choreographic allusions in “Schmigadoon” and “Cats: The Jellicle Ball,” two gotta-dance, Tony-nominated shows.
The star ballerina is also an accomplished choreographer. Her sophomore work for City Ballet is bigger and better than her first.
His "Cassette Vol. 1" has a 1980s mix tape soundtrack and nods to postmodern American dance vocabulary.
Searching for new repertory, the company succeeds best with two veteran choreographers, Jawole Willa Jo Zollar and Lucinda Childs.
She knew nothing about lighting when the director Robert Wilson asked her to work on his shows, and later spent over 40 years as a designer for Danspace Project.
Hubbard Street Dance Chicago and the Off Broadway revue "Gotta Dance!" shine a light on repertory that is too often overlooked.
He created dances performed around the world, and under his leadership the Houston company grew into one of America's largest and most prominent.
One of two New York premieres at the Brooklyn Academy of Music, "Via Dolorosa" seeks truth in plainness.
Rennie Harris's "Losing My Religion" and a Matthew Neenan program from BalletX were signs of health in two of the city's most important dance institutions.
