The Stephen Petronio Company’s revival of “Signals” is one sign among many of how robustly Cunningham’s work is surviving.
Author Archives: BRIAN SEIBERT
Mr. Brooks’s underwhelming new dance, “Prelude,” at the Joyce Theater, focuses on backwardness or reversal.
In an East-meets-West Cold War tale, Magda Saleh danced “Giselle” with the Bolshoi and at home in Cairo, where calling a woman a dancer was an insult.
“Concertiana,” Mr. Taylor’s 147th work, received a premiere along with “The Beauty in Gray” by Bryan Arias and “Half Life” by Doug Varone.
What do ragtime and stride piano have to do with the habanera? Pianists and dancers at Jazz at Lincoln Center tried to sort it out.
Mr. McGregor’s piece, different each time it’s performed, has impressive surface style and dancers. But they can’t mask its lack of shape or heart.
The Making Room is an evening of work by Bebe Miller and Susan Rethorst. It’s also a website that lets us see their dance-making processes.
The improviser and choreographer Jennifer Monson’s “bend the even” presents a vision of nature as wild, powerful and unexpectedly eruptive.
In this thoughtful, subtly provocative dance performance, David Thomson explores identity. (It’s complicated.)
Camille A. Brown has stories to tell about black lives that go beyond stereotypes. “ink,” her newest dance, shows a growing trust in her own art.