336 stories by "Brian Seibert"
Hope Boykin's "Finding Free" and Lar Lubovitch's "Many Angels" aspire to find higher ground at New York City Center.
A solo by the choreographer Bintou Dembélé, the first showing of her work in the United States, explored the crossover between hip-hop and diasporic African ritual.
Mack, director of the dance division at Juilliard, will be the popular company's fourth artistic director.
This Ralph Lemon work, part of a MoMA PS1 exhibition, is an experience of sound as much as dance. His collaborators can lead an audience to ecstasy.
At the Brooklyn Academy of Music, the highlight of Dana Gingras's "Frontera" may well be the lighting design.
She became an international star as a member of the company and later directed it, guiding it out of debt and boosting its popularity.
At the Brooklyn Academy of Music, Bill T. Jones's "Still/Here" returns, free of the AIDS-era context in which it premiered.
"Why can't ballet be a roller coaster?" Helen Pickett said of her and James Bonas's full-length work, premiering this week at American Ballet Theater.
The Paul Taylor Dance Company joins a very short list of dance troupes with substantial real estate in one of the world's most expensive markets.
The choreographer Nadia Beugré, who brought her "Quartiers Libres Revisited" to New York Live Arts, likes to keep her audience close. And involved.
At the Baryshnikov Arts Center, an adaptation of Smith's poem-memoir "Woolgathering" features Smith reciting, others dancing and a surprise guest.
The Greek-born choreographer Lenio Kaklea made her American debut at Governors Island, a fitting spot for work about the boundaries between nature and culture.
Osvaldo Golijov's opera about Federico GarcÃa Lorca makes its Met debut in a dance-heavy production, directed by the choreographer Deborah Colker.
Dayton Contemporary Dance Company brought a mixed bill to the Joyce Theater, including a Paul Taylor classic and a dance by the great Rennie Harris.
Botis Seva, a rising British choreographer who mixes hip-hop and contemporary dance, brings his Olivier Award-winning "BLKDOG" to New York.
Marikiscrycrycry examines fresh territory in "Goner," but his ideas remain theatrically inert.
"People came from everywhere to see her shows," an admirer said " including, on at least one occasion, the ballet superstar Mikhail Baryshnikov.
The choreographer Sharon Eyal turns the Drill Hall of the Armory into a club at which her dancers appear at intervals, behaving oddly.
The jeweler's generously funded Dance Reflections program is having a major influence on the city's scene. How much impact is too much?
Jodi Melnick's new work is performed throughout a gallery installation, while one by Annie-B Parson sprawls in a sculpture park.
Jakob Karr, from "So You Think You Can Dance?," has conceived and choreographed a show set to songs by the country musician Orville Peck.
Michelle Dorrance's new work, "Shift.," honors Gene Medler, the teacher who founded the North Carolina Youth Tap Ensemble.
The best dance by far on Smuin Contemporary Ballet's program at the Joyce is by Amy Seiwert, who is about to be the company's director.
Tap festivals have been pivotal in passing on tradition. But New York's has been canceled and the institution that supports it faces an uncertain future.
Wayne McGregor's 2015 work, making its New York debut with American Ballet Theater, fails to make dance poetry of Virginia Woolf's novels.
