336 stories by "Brian Seibert"
Julie Mehretu and John Jasperse are collaborating at the Marian Goodman Gallery: “How do we bring something to each other’s work that feels productive?”
Maureen Footer’s new biography, “Feel the Floor,” shows how a little-known Black choreographer taught white stars all the latest moves.
Breaking down the choreographic allusions in “Schmigadoon!” and “Cats: The Jellicle Ball,” two gotta-dance, Tony-nominated shows.
Breaking down the choreographic allusions in “Schmigadoon” and “Cats: The Jellicle Ball,” two gotta-dance, Tony-nominated shows.
The star ballerina is also an accomplished choreographer. Her sophomore work for City Ballet is bigger and better than her first.
His "Cassette Vol. 1" has a 1980s mix tape soundtrack and nods to postmodern American dance vocabulary.
Searching for new repertory, the company succeeds best with two veteran choreographers, Jawole Willa Jo Zollar and Lucinda Childs.
She knew nothing about lighting when the director Robert Wilson asked her to work on his shows, and later spent over 40 years as a designer for Danspace Project.
Hubbard Street Dance Chicago and the Off Broadway revue "Gotta Dance!" shine a light on repertory that is too often overlooked.
He created dances performed around the world, and under his leadership the Houston company grew into one of America's largest and most prominent.
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.
