357 stories by "Brian Seibert"
Niall Jones's "Compression" at Performance Space New York asks that you adjust to the absence of the expected and tune into a different wavelength.
The choreographer Gisèle Vienne aims to open the doors of perception and bend our experience of time in "Crowd," at the Brooklyn Academy.
Mark Morris's "The Look of Love" is set to Bacharach songs. "People are always saying, 'Oh my God, he wrote that?' That's why I'm doing it," Morris said.
For her piece at Madison Square Park, Beau Bree Rhee has come up with a term, "climate change bodies," but not a dance vocabulary that expresses that idea.
In Kimberly Bartosik's "The Encounter," young performers and professional dancers navigate a world in turmoil, looking for a way out.
After a complicated journey to New York, Malpaso made it to the Joyce Theater with a program that showed it trying on various styles.
DorkyPark's "Open for Everything," coming to the Brooklyn Academy, is mostly light and playful, energized by Roma musicians.
Seán Curran Company and Darrah Carr Dance present "CéilÃ," a pleasant show that doesn't break much new ground.
This 2011 work by the American-born, Europe-based choreographer Meg Stuart feels overextended.
In "Burn," a one-man dance-theater work, Alan Cumming tries to reveal the inner life of the Scottish poet Robert Burns.
The choreographer and performer Nora Chipaumire's new six-hour work at the Alexander Kasser Theater invokes ancestral spirits.
At N.Y.U. Skirball, an exploration at the edges of beauty and death, with touches of Wagner.
Audio descriptions are one path into this disability arts ensemble's show. In some ways, these mirror the critic's job: putting dance into words.
During a renovation of its Chelsea space, the Kitchen will move to Westbeth, which houses artists, the Martha Graham company and much avant-garde history.
The company, a keeper of the great British choreographer Frederick Ashton's flame, has brought a pleasant and slight program to the Joyce Theater.
With a score by the innovative electronic musician Jlin, Abraham's dance has beautiful skeins of motion but lacks cohesive structure.
A jazz trio and three other dancers join Dormeshia for a classy, classic program filled with swing.
At Ragamala Dance Company's nature-themed performance at BRIC Celebrate Brooklyn!, the strongest connection was between music and dance, our critic writes.
Michelle N. Gibson brings her one-woman show exploring the origins of New Orleans second line, "Takin' It to the Roots," to Jacob's Pillow.
Her new dance at Bard, a collaboration with the composer David Lang, is a refined, restrained and sometimes breathtaking response to the biblical poem.
At Jacob's Pillow, the Ted Shawn Theater has reopened with the inclusive "America(na) to Me" and a premiere by Ronald K. Brown/Evidence.
Flamenco Vivo Carlota Santana's show "Fronteras" at the Joyce Theater has a group of very good and remarkably equal dancers sharing a bounded space.
Flamenco Vivo Carlota Santana's show "Fronteras" at the Joyce Theater has a group of very good and remarkably equal dancers sharing a bounded space.
In Martha Clarke's piece about St. Francis of Assisi, at La MaMa's Ellen Stewart Theater, the song carries the dance.
Programs at the Joyce Theater feature early works that show how Taylor integrated the radical and the popular.
