All stories by Brian Seibert on BroadwayStars

Tuesday, December 6, 2022

Michelle Dorrance’s Former Student Takes Over as Composer by Brian Seibert

After years of friendship and collaboration, Aaron Marcellus is writing the music for a new dance by Michelle Dorrance, his former tap teacher.

SOURCE: The New York Times Subscription at 01:25PM
Friday, December 2, 2022

Here Are the Best Dance Performances of 2022 by Gia Kourlas, Brian Seibert and Siobhan Burke

After a few slow, sad years, the dance calendar returned to something like abundance, with standout shows that leaned into joy and community.

SOURCE: The New York Times Subscription at 05:00AM
Wednesday, November 30, 2022

Review: Complexions Returns With New Dances but Not New Moves by Brian Seibert

The contemporary ballet company, whose chief choreographer is Dwight Rhoden, presented dances at the Joyce Theater that felt like more of the same.

SOURCE: The New York Times Subscription at 02:28PM
Monday, November 21, 2022

The Trisha Brown Company Hires a Choreographer Not Named Trisha Brown by Brian Seibert

Judith Sánchez Ruíz, a former dancer in the company, has been commissioned to make its first work not by Brown.

SOURCE: The New York Times Subscription at 11:00AM
Thursday, November 17, 2022

A Genre-Spanning Choreographer Who Says Yes to the Unknown by Brian Seibert

Jennifer Weber has two shows opening on Broadway, “&Juliet” and “KPOP,” and her “Hip-Hop Nutcracker” is coming to Disney+.

SOURCE: The New York Times Subscription at 10:00AM
Friday, November 11, 2022

Review: Play and Loss, and Unusual Rituals of Mourning by Brian Seibert

Vanessa Anspaugh’s dance “Mourning After Mornings” discovers and creates its own logic, mixing humor with grief.

SOURCE: The New York Times Subscription at 02:26PM

When the Finely Tuned Spotlight Falls on the Lighting Designer by Brian Seibert

Jennifer Tipton, whose job usually entails serving the vision of choreographers and directors, has made her own show, the installation “Our Days and Night.”

SOURCE: The New York Times Subscription at 10:00AM
Friday, November 4, 2022

Review: A Parade of People, Pulled by Many Forces by Brian Seibert

The Brazilian troupe Lia Rodrigues Companhia de Danças makes its New York-area debut with “Fúria” as part of Montclair State University’s Peak Performances series.

SOURCE: The New York Times Subscription at 06:43PM
Thursday, November 3, 2022

Review: Ayodele Casel Returns to the Joyce With ‘Chasing Magic’ by Brian Seibert

Originally a virtual production earlier in the pandemic, this live version features an improvised duet between Casel and the pianist Arturo O’Farrill.

SOURCE: The New York Times Subscription at 01:21PM
Friday, October 28, 2022

Review: Who Can Commune With Cunningham and Cage? by Brian Seibert

In “Unavailable Memory” at Baryshnikov Arts Center, dance artists fill in gaps in the choreographic record, but they don’t all speak fluent Cunningham.

SOURCE: The New York Times Subscription at 04:27PM

‘Oh, I’ll Show You’: Paul Taylor and Alex Katz’s Long Collaboration by Brian Seibert

There were egos and clashes, but the choreographer and painter made 16 dances together over more than 50 years, work spotlighted in the Taylor company’s season.

SOURCE: The New York Times Subscription at 09:00AM
Wednesday, October 26, 2022

Review: What Happens in the Theater Before and After the Dance? by Brian Seibert

Niall Jones’s “Compression” at Performance Space New York asks that you adjust to the absence of the expected and tune into a different wavelength.

SOURCE: The New York Times Subscription at 01:34PM
Friday, October 14, 2022

‘Crowd’ Review: A Slow-Motion Rave, With Glints of Violence by Brian Seibert

The choreographer Gisèle Vienne aims to open the doors of perception and bend our experience of time in “Crowd,” at the Brooklyn Academy.

SOURCE: The New York Times Subscription at 01:51PM

Yes, Burt Bacharach Wrote That. And You Can Dance to It. by Brian Seibert

Mark Morris’s “The Look of Love” is set to Bacharach songs. “People are always saying, ‘Oh my God, he wrote that?’ That’s why I’m doing it,” Morris said.

SOURCE: The New York Times Subscription at 10:00AM
Thursday, October 13, 2022

Review: The Sea Is Rising, but the Dance Goes On by Brian Seibert

For her piece at Madison Square Park, Beau Bree Rhee has come up with a term, “climate change bodies,” but not a dance vocabulary that expresses that idea.

SOURCE: The New York Times Subscription at 01:28PM
Friday, October 7, 2022

Review: Lift Me Up (but Where?). A Dance of Escape and Connection. by Brian Seibert

In Kimberly Bartosik’s “The Encounter,” young performers and professional dancers navigate a world in turmoil, looking for a way out.

SOURCE: The New York Times Subscription at 01:06PM
Wednesday, October 5, 2022

Malpaso Review: From Cuba, a Repertory Group in Search of Itself by Brian Seibert

After a complicated journey to New York, Malpaso made it to the Joyce Theater with a program that showed it trying on various styles.

SOURCE: The New York Times Subscription at 03:12PM
Tuesday, October 4, 2022

Roma Tell Their Stories in a Dance-Theater Work From Berlin by Brian Seibert

DorkyPark’s “Open for Everything,” coming to the Brooklyn Academy, is mostly light and playful, energized by Roma musicians.

SOURCE: The New York Times Subscription at 02:08PM
Friday, September 30, 2022

Review: It’s That Old Hard Shoe, and an Irish Dance Reunion by Brian Seibert

Seán Curran Company and Darrah Carr Dance present “Céilí,” a pleasant show that doesn’t break much new ground.

SOURCE: The New York Times Subscription at 03:16PM
Sunday, September 25, 2022

Review: The Inescapable Vibrations of ‘Violet’ by Brian Seibert

This 2011 work by the American-born, Europe-based choreographer Meg Stuart feels overextended.

SOURCE: The New York Times Subscription at 04:02PM
Wednesday, September 21, 2022

Review: Alan Cumming Explores the Dark Side of Robert Burns by Brian Seibert

In “Burn,” a one-man dance-theater work, Alan Cumming tries to reveal the inner life of the Scottish poet Robert Burns.

SOURCE: The New York Times Subscription at 01:33PM
Sunday, September 18, 2022

Review: In ‘Nehanda,’ the Band Played On by Brian Seibert

The choreographer and performer Nora Chipaumire’s new six-hour work at the Alexander Kasser Theater invokes ancestral spirits.

SOURCE: The New York Times Subscription at 03:08PM
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

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