357 stories by "Brian Seibert"
A program celebrating Twyla Tharp's 60th year making dances features the masterwork "Diabelli" and the fresh new "Slacktide," set to Philip Glass.
Batsheva Dance Company's performance of Ohad Naharin's masterful "Momo" at the Brooklyn Academy of Music was inevitably colored by events in Israel and Gaza.
Douglas Dunn + Dancers' season at Judson Memorial Church in Manhattan includes a pastoral premiere and an experimental opera.
"Tango After Dark" at the Joyce Theater feels like an extended nightclub floor show, low in imagination and musical subtlety.
"Gigenis," drawn from a tale in the Mahabharata, is the choreographer Akram Khan's most potent work in years.
The company, founded in 1984, has struggled with finances since the pandemic.
"Mystic Familiar," a New York City Ballet premiere, has a score by the musician Dan Deacon and some all-too-familiar sentiments.
The Out-Front! Festival at the Brooklyn Academy of Music on Saturday featured thrilling works by Angie Pittman ("Black Life Chord Changes") and Kyle Marshall ("Joan").
At the Joyce Theater, Ragamala Dance presents "Children of Dharma," an elegant production that lacks dramatic pop.
651 Arts, dedicated to African diasporic performance, now has its own space to support work like the choreographer André Zachery's "Against Gravity."
An oral history project, "Planting Seeds," considers the history and impact of an American Dance Festival program to train dancers in China.
Writing for The New Yorker, she was both admired and feared, wielding a sometimes merciless pen. Her study of Fred Astaire and Ginger Rogers drew accolades.
Hope Boykin's "Finding Free" and Lar Lubovitch's "Many Angels" aspire to find higher ground at New York City Center.
Once-in-a-generation ballerinas, topical works that transcended politics and a voguing "Cats" were highlights of the year.
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.
