Recent and archived work by Siobhan Burke for The New York Times
Under the banner “American Legacies,” the Martha Graham Dance Company dusted off a classic, “Rodeo,” premiered a companion piece and welcomed FKA twigs for a guest solo at City Center.
By Siobhan Burke
In “Until the Lion Tells the Story…,” Lacina Coulibaly walks in his ancestors’ footsteps.
By Siobhan Burke
Gayli, a dance night at a Brooklyn bar, provides a welcoming atmosphere for Irish dancing.
By Siobhan Burke and Yael Malka For The New York Times
In Ursula Eagly’s “Dream Body Body Building” at the Chocolate Factory, the dancers seem to be transmitting a dream state to the audience.
By Siobhan Burke
Her program at the Joyce Theater features an extroverted dance from 1975 and two new works: an introspective solo to Jacques Brel and an antic look at a choreographer creating.
By Siobhan Burke
In this work, inspired by Quentin Tarantino’s “Kill Bill” films, Croatian performers address the fraught director-actress relationship at its core.
By Siobhan Burke
George Lee was the original Tea in “George Balanchine’s The Nutcracker.” A documentary filmmaker found him and a lost part of ballet history in Las Vegas.
By Siobhan Burke
Molissa Fenley’s “From the Light, Between the Lamps,” a collection of short works, is a steady, rigorous exploration of movement to music.
By Siobhan Burke
The group, led by Leonardo Sandoval and Gregory Richardson, leans into tap’s oneness of dance and music for “I Didn’t Come to Stay.”
By Siobhan Burke
Recent experiments in describing dance, like the film “Telephone,” approach it not just as an accessibility service but as a space for artistic exploration.
By Siobhan Burke