351 stories by "Brian Seibert"
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.
At a Broadway studio, the actor busts a move with his daughter, Audrey, who also happens to be his inspiration (and co-star) for his new film, "She Dances."
A new tour featuring New Edition and Boyz II Men is also a showcase for the influential work of their longtime choreographer, Brooke Payne.
Works by Soa Ratsifandrihana and Robin Orlin evoked Malagasy line dances and Zulu rickshaw drivers.
A series of workshops that are part of the Dance Reflections festival help to demystify contemporary dance. There are classes for pros, nonprofessionals and even children.
At the Dance Reflections festival, Nacera Belaza, Anne Teresa De Keersmaeker and Noé Soulier all attempted some form of going back to basics. Results varied.
The centerpiece of the annual Flamenco Festival New York saw the introduction of another wonder in Juan Tomás de la MolÃa, alongside some veterans of the art.
His "Baile Inolvidable" has sparked a surge of interest in salsa dancing and brought in a younger generation. "It's been positively contagious," a teacher said.
Peck's "The Wind-Up," set to the first movement of the "Eroica" symphony, doesn't rise to the challenge of the music but is refreshing in other ways.
"Irrationalities," at the Joyce Theater, disappoints only if you are expecting Soledad Barrio, the company's world-class dancer, who is out with an injury.
"Sons of Echo," in which standout male dancers perform work by women, proves that male choreographers don't have a monopoly on bad taste.
The company revived and revised a work that juxtaposes formal movement with a sound score that incorporates recordings of the 1979 White Night riots in San Francisco.
Dahlak Brathwaite's "Try/Step/Trip," part of the Under the Radar festival, uses the language of step to express the liberating and restricting power of groups.
An operatic Vivaldi pastiche, with a new story by Sarah Ruhl, offers an ambivalent message about how art can make people pay attention.
New works by Jamar Roberts and Matthew Neenan had their premieres at Alvin Ailey American Dance Theater.
Ephrat Asherie's "Shadow Cities" pairs her group's adept dancers with live music by the great Arturo O'Farrill.
After 40 years of making dances as complicated as human consciousness, Tere O'Connor revives his first work at New York Live Arts. Bonus: He will talk about it.
Maija GarcÃa's "Jazz Island" is a full-company narrative of a kind that Ailey hasn't done in a while. And it features an Afro-Caribbean score by Etienne Charles.
At the Joyce Theater, "American Street Dancer" offers a history lesson in the form of a family's house party.
The French troupe Compagnie Dyptik is making its United States debut with a show seemingly inspired by pandemic isolation and its aftermath.
Abigail Levine's new work, at Target Margin Theater, is terrific as a kind of enhanced reading, but lags on the level of choreography.
In "What Is War," two singular artists, Eiko Otake and Wen Hui, grapple with memories of China and Japan in World War II.
At the new Powerhouse: International festival in Brooklyn, Christos Papadopoulos debuted an oblique, glacially cool work with seven dancers.
American Ballet Theater opened its season with an all-Twyla Tharp program, featuring her first dance for the company, "Push Comes to Shove," and the for-the-ages "Bach Partita."
