All stories by Brian Seibert on BroadwayStars

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
Wednesday, March 30, 2022

Review: A Tap-Dancing Soul in Spirit-World Limbo by Brian Seibert

In “Once Upon a Time Called Now,” the tap dancer and musician Michela Marino Lerman tries something new: a theatrical narrative.

SOURCE: The New York Times Subscription at 01:22PM
Friday, March 25, 2022

Review: The Paul Taylor Company Returns With a New Voice by Brian Seibert

At City Center, the company’s season began with a debut by its first resident choreographer, Lauren Lovette, and two masterly works by Taylor.

SOURCE: The New York Times Subscription at 03:02PM
Wednesday, March 23, 2022

Review: Ronald K. Brown’s Messages of Resilience by Brian Seibert

In a program at the Joyce Theater, Brown’s company, Evidence, presented three dances that aren’t new but seem newly meaningful.

SOURCE: The New York Times Subscription at 01:39PM
Wednesday, March 16, 2022

Trinity Irish Dance Company Review: Those Flashing, Percussive Feet by Brian Seibert

This Chicago company presents Irish dance of great skill, while trying, sometimes successfully, to modernize and invigorate the tradition.

SOURCE: The New York Times Subscription at 04:18PM
Wednesday, March 9, 2022

Review: The Virtuoso Sara Mearns Considers Other Virtuosities by Brian Seibert

In “Piece of Work” at the Joyce, Mearns dives into collaborations with choreographers outside the ballet world, including Jodi Melnick and Beth Gill.

SOURCE: The New York Times Subscription at 02:28PM
Friday, March 4, 2022

Review: Raphael Xavier, Breaking Out of Boxes, Barely by Brian Seibert

“The Musician & the Mover,” a new work from the respected B-boy, had its New York premiere at New York Live Arts on Thursday.

SOURCE: The New York Times Subscription at 04:40PM
Wednesday, March 2, 2022

Review: A Los Angeles Troupe in Search of Choreographic Vision by Brian Seibert

Bodytraffic’s program at the Joyce Theater leaves you contemplating some problems of contemporary dance.

SOURCE: The New York Times Subscription at 01:38PM
Thursday, February 24, 2022

Review: Kyle Abraham’s Theatrical Love Letter to Social Dance by Brian Seibert

In “An Untitled Love,” an hourlong show at BAM, Abraham and his dancers turn the stage into a house party set to D’Angelo tracks.

SOURCE: The New York Times Subscription at 03:55PM
Wednesday, February 16, 2022

Review: Afro-Colombian Dancing Reawakens the Joyce Theater by Brian Seibert

Sankofa Danazfro returns to New York with “Accommodating Lie,” a curiously muted work about the display of Black Bodies

SOURCE: The New York Times Subscription at 02:00PM
Friday, February 11, 2022

A Dance to the Music of Time and T.S. Eliot by Brian Seibert

Pam Tanowitz’s “Four Quartets,” a rich mix of poetry, painting, music and dance, had its New York debut at the Brooklyn Academy.

SOURCE: The New York Times Subscription at 02:09PM
Thursday, February 10, 2022

The Dance on Camera Festival Turns 50, Embracing Its Niche by Brian Seibert

This edition resembles past ones, with an international miscellany of approaches to the question of what filmed dance can be.

SOURCE: The New York Times Subscription at 09:46AM
Tuesday, February 1, 2022

Calling All Tap Dance Kids (It’s Not the Acting Kid or the Singing Kid) by Brian Seibert

The challenge of casting the Encores! revival of “The Tap Dance Kid” exposes some of the complications of tap, show business and Black history.

SOURCE: The New York Times Subscription at 03:32PM
Sunday, January 16, 2022

Review: Reveling in Live Dance at Japan Society by Brian Seibert

Despite the pandemic disruptions, this festival of contemporary dance from Asia went on, nearly as planned, with four North American premieres.

SOURCE: The New York Times Subscription at 03:02PM
Wednesday, December 22, 2021

A Ballerina Who Adds to the ‘Palette of What’s Possible’ by Brian Seibert

Chyrstyn Fentroy was a star at Dance Theater of Harlem before joining Boston Ballet, where she has been promoted to the top rank of principal.

SOURCE: The New York Times Subscription at 10:00AM
Friday, December 17, 2021

Review: Getting Into the Tap Family Spirit With Two Stars as Hosts by Brian Seibert

Michelle Dorrance and Dormeshia set the friendly tone of an evening of tap, with guests and gratitude, at the 92nd Street Y.

SOURCE: The New York Times Subscription at 01:34PM
Wednesday, December 15, 2021

A Spinning Acrobat Learns to Love Change by Brian Seibert

The French circus company Libertivore makes its American debut, though its director had to give up her performing career.

SOURCE: The New York Times Subscription at 10:18AM
Wednesday, December 1, 2021

‘The Mood Room’ Review: 1980s Anomie, California Style by Brian Seibert

In Big Dance Theater’s new work, premiering at BAM Fisher, Annie-B Parson melds her sensibility with that of the Conceptual artist Guy de Cointet.

SOURCE: The New York Times Subscription at 12:33PM

Best Dance of 2021 by Gia Kourlas, Brian Seibert and Siobhan Burke

A year of uncertainty was capped by a happy ending: a rush of performances this fall, including standouts by masters (Twyla Tharp) and breakout stars (LaTasha Barnes).

SOURCE: The New York Times Subscription at 09:02AM
Tuesday, November 30, 2021

Robert Battle on Running Ailey: ‘This Is My Choreography Now’ by Brian Seibert

Celebrating 10 years as the artistic director of Alvin Ailey American Dance Theater, Battle says he is most proud of the chances he has taken.

SOURCE: The New York Times Subscription at 01:59PM
Friday, November 12, 2021

Review: When Real Life Adds an Unexpected Round to the Fugue by Brian Seibert

Created during the pandemic, Zvi Gotheiner’s “The Art of Fugue,” performed by ZviDance at New York Live Arts, now registers as a work of recovery.

SOURCE: The New York Times Subscription at 02:09PM