342 stories by "Brian Seibert"
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.
Jawole Willa Jo Zollar, who founded Urban Bush Women four decades ago, says goodbye to it with a final work.
It was a sign of her generosity that her program this weekend was almost all work by her associates.
The choreographer's "Navy Blue" is the rare work to express the emotions of life in pandemic lockdown.
The La MaMa Moves! Dance Festival 2024 featured a high ratio of talking to dancing.
The choreographers nominated for Tony Awards this year have a broader vision than usual of the possibilities of dance in theater.
The Gibney Company's program at the Joyce Theater includes two Twyla Tharp dances from the 1970s.
Carol Mullins, who has been lighting boundary-pushing shows at Danspace Project since the 1970s, will be honored at its 50th anniversary.
The two premieres " one by Justin Peck, one by Amy Hall Garner " were gala-style pieces that felt more fresh than rote.
With choreography by Kate Prince and 27 songs by Sting, this story of refugees has impressive dance moments, but handles narrative and emotion tritely.
In "Searching for Goya," at the Joyce Theater, the troupe uses the painter's images as frames for flamenco dances.
The Sydney Dance Company's "ab [intra]" at the Joyce Theater is impressive but chilly.
As Harlem Stage's E-Moves dance series turns 25, Bill T. Jones and other major choreographers discuss its impact on Black dance in New York.
"We the People," Roberts's first dance for the Martha Graham Dance Company, finds the rage and resistance hidden in an upbeat score by Rhiannon Giddens.
Ayodele Casel leads a program celebrating Roach's centenary that also includes works by Rennie Harris as well as by Ronald K. Brown and Arcell Cabuag.
As the second company of Alvin Ailey American Dance Theater has evolved, it has trained dancers and choreographers for tenacity as much as technique.
The choreographers Baye & Asa usher the Sphinx puzzler into a vaguely menacing landscape.
A new work, "The White Feather" is inspired by the history of the Iranian National Ballet, which went dark during the Islamic Revolution and was never revived.
At City Center, performers like Olga Pericet and Manuel Liñán knew the rules they were bending.
Pontus Lidberg's "On the Nature of Rabbits" at the Joyce Theater is a dance haunted by AIDS.
