336 stories by "Brian Seibert"
A decade after its rebirth, the company is assured and radiant in a challenging Balanchine and a moody piece set to James Blake's electronic soul music.
The two premieres in the company's two-week run at the Joyce Theater are by fledgling choreographers whose efforts don't add much to Graham's legacy.
The choreographer Beth Gill's "Nail Biter," at the Fisher Center at Bard College, is absolutely deliberate but also mysterious.
Atamira Dance Company's "Te Wheke" at the Joyce Theater drops you into its world and trusts you can swim in it.
Schlenzka, who took the reins in 2017, presided over a rebranding and a new name for the organization " and an experiment in artist rule.
Baras's show, the only dance production in this year's Flamenco Festival New York, was looser than usual, with soothing moments and good times.
With a renovation, new studios and the return of dance to the Kaufmann Concert Hall, an institution once central to dance in New York invests in its future.
Devoting his long life to dance, he was also a choreographer, an educator and an author, and was still onstage in his 90s.
The company's run at the Joyce Theater in Manhattan, featuring a premiere set to the soulful music of Bill Withers, is fun and clever in spots.
"Blackbare in the Basement," Jordan Demetrius Lloyd's first evening-length commission, shows a distinct voice still developing.
The New York debut of her performance "Lacks Criticality" coincides with an exhibition at the Whitney Museum that explores how artists have responded to Hurricane Maria.
Batsheva Dance Company brings Naharin's "Hora" to the Joyce Theater, showcasing his idiosyncratic, often-emulated style.
Linda-Denise Fisher-Harrell, the Chicago troupe's new leader, wants to expand the voices in the company, coming this week to the Joyce Theater.
The film helped bring breaking into the mainstream. Over the years, it also became famous for the subs and doubles of its star, Jennifer Beals.
"Rome & Jewels," revived at the Joyce Theater, established Rennie Harris as a gifted and canny choreographer of street styles for the concert stage.
"Memphis Jookin': The Show," which presents jookin "in the world it comes from," is sincere entertainment, packed with talent and heart.
The choreographer Troy Schumacher, the composer Ellis Ludwig-Leone and the novelist Karen Russell teamed up, pushing one another to new places in their mediums.
"Fortuitous Ash," Keerati Jinakunwiphat's first work for a ballet company, was spectral in two senses: ghostly and insubstantial.
The Russian dancer brought her star-and-her-friends touring program to New York City Center on Saturday for a sold-out, one-night-only show.
The American Dance Platform, this year curated by Ronald K. Brown, gives three companies a stage in New York.
The Gibney Company presents Naharin's "Yag," but the dancers lack the stage presence to fully inhabit it.
At Alvin Ailey American Dance Theater's current season at New York City Center, Twyla Tharp's insouciance shines through, while anger rings true in "Survivors."
"Rivulets," with a score composed by the choreographer, brings a mesmerizing stream of consciousness to Baryshnikov Arts Center.
After years of friendship and collaboration, Aaron Marcellus is writing the music for a new dance by Michelle Dorrance, his former tap teacher.
The contemporary ballet company, whose chief choreographer is Dwight Rhoden, presented dances at the Joyce Theater that felt like more of the same.
