336 stories by "Brian Seibert"
In "Once Upon a Time Called Now," the tap dancer and musician Michela Marino Lerman tries something new: a theatrical narrative.
At City Center, the company's season began with a debut by its first resident choreographer, Lauren Lovette, and two masterly works by Taylor.
In a program at the Joyce Theater, Brown's company, Evidence, presented three dances that aren't new but seem newly meaningful.
This Chicago company presents Irish dance of great skill, while trying, sometimes successfully, to modernize and invigorate the tradition.
In "Piece of Work" at the Joyce, Mearns dives into collaborations with choreographers outside the ballet world, including Jodi Melnick and Beth Gill.
"The Musician & the Mover," a new work from the respected B-boy, had its New York premiere at New York Live Arts on Thursday.
Bodytraffic's program at the Joyce Theater leaves you contemplating some problems of contemporary dance.
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.
Sankofa Danazfro returns to New York with "Accommodating Lie," a curiously muted work about the display of Black Bodies
Pam Tanowitz's "Four Quartets," a rich mix of poetry, painting, music and dance, had its New York debut at the Brooklyn Academy.
This edition resembles past ones, with an international miscellany of approaches to the question of what filmed dance can be.
The challenge of casting the Encores! revival of "The Tap Dance Kid" exposes some of the complications of tap, show business and Black history.
Despite the pandemic disruptions, this festival of contemporary dance from Asia went on, nearly as planned, with four North American premieres.
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.
Michelle Dorrance and Dormeshia set the friendly tone of an evening of tap, with guests and gratitude, at the 92nd Street Y.
The French circus company Libertivore makes its American debut, though its director had to give up her performing career.
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.
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.
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.
Indigenous Enterprise is rooted in tradition but also has hip-hop influences, discernible in footwork, bounce and especially attitude.
The choreographer Christopher Williams's queer reimagining of the Narcissus myth is brilliantly conceived and costumed, though a bit stodgy.
The Martha Graham Dance Company's return to the Joyce Theater featured a premiere, classic repertory and an intriguing experiment in reconstruction.
Risk and improvisation are integral to kathak, the Indian classical dance form on display in Rachna Nivas's stunning solo performance at Dixon Place.
This mixed-nuts dance series returned with a whiplash-inducing program of Streb Extreme Action, A.I.M by Kyle Abraham and the Verdon Fosse Legacy.
Caleb Teicher's "Sw!ng Out" at the Joyce Theater aims to bring swing onstage as it lives today in a program that's part variety show, part hangout.
