Andrea Miller, the choreographer in residence at the Metropolitan Museum of Art, has made a piece inspired by the “Like Life” sculpture exhibition.
Author Archives: BRIAN SEIBERT
Celebrating its 35th season, Flamenco Vivo presented a weak dance-drama but ended on a joyous note with the traditional “fin de fiesta” finale.
What does tap mean in musicals these days? It’s often used as a sparkly outfit — a symbol of Broadway’s past, danced by nostalgists and drama nerds.
Ms. Michelson’s show at Performance Space New York is, at its core, about aging. It has an elegiac edge — but she seems to be having fun.
The deceptively modest programs at his Brooklyn dance center include a nearly new knockout, a major revival and career-spanning variety.
Mr. Acosta, the international ballet star, has started Acosta Danza, a Cuban contemporary-meets-ballet troupe that makes its U.S. debut this week.
His company’s program at the Joyce Theater featured a premiere that, like most of his work, had fine craftsmanship but left little impression.
Ballet Hispánico’s world premieres at the Joyce Theater were inspired by Federico García Lorca — one by a play, one by his friendship with Dalí.
Geoffrey Holder’s repertory staple, lovingly revived by his son and widow, had a sense of majesty.
The Stephen Petronio Company’s revival of “Signals” is one sign among many of how robustly Cunningham’s work is surviving.