TWYLA THARP DANCE The formidable choreographer opens the Joyce’s fall season with two vintage treasures: “The Raggedy Dances” (1972) and “The Fugue” (1970). In the case of the playful, innocent “Raggedy Dances” — which features music by Scott Joplin and Mozart — six dancers shimmy and roll their way through Ms. Tharp’s silken movement, creating a landscape of lightness and naïveté. And in her new “Dylan Love Songs,” Ms. Tharp returns to the music of Bob Dylan to explore aspects of love. Sept 19 – Oct. 8, joyce.org.
BARYSHNIKOV ARTS CENTER The season opens with Dorothée Munyaneza, a Rwanda-born, France-based artist, in “Unwanted,” in which she explores the use of rape as a weapon (Sept. 21-22). The season continues with the Israel group Roy Assaf Dance (Oct. 12-13) and Kota Yamazaki in a series of works inspired by the Butoh legend Tatsumi Hijikata (Dec. 13-15). bacnyc.org.
HOUSTON BALLET The news of this season is “Mayerling,” Kenneth MacMillan’s sumptuous, deeply moving 1978 ballet that tells the tale of the murder-suicide of Rudolf, the Crown Prince of Austria-Hungary, and his young mistress, Mary Vetsera. This three-act production is a lavish example of dramatic ballet — and is rarely seen in this country. Sept. 21-Oct. 1, houstonballet.org.
STANLEY LOVE PERFORMANCE GROUP This spirited troupe, which made its first appearance in 1992, brings some joyful pulse to the Kitchen in “Brings Swings, Sings Chimes Rings Wings, Flings Zingahlings-Spirit Party Things.” This “journey of eclectic esthetics,” as Mr. Love described it, is “related to emotion, rhythm, message and communion.” The work, which promises to be inspirational as well as aspirational, is organized by Sarah Michelson. September 21–23, thekitchen.org.
SARAH MICHELSON This uncompromising choreographer also has an imagination that won’t quit. She spent the past four years working with a group of Bard students to create “September2017/,” a premiere that also includes the participation of her current collaborators. Ms. Michelson describes the performance as “ studio work, to look at and be with” and is “constructed in this time for this time — an attempt to stay fresh and work hard, but invite no celebration, no opinion, no success.” The premiere is part of Live Arts Bard. Sept. 22-24, fishercenter.bard.edu.
ANNE TERESA DE KEERSMAEKER New York Live Arts, led by Bill T. Jones and Janet Wong, has an apt theme for its season: “Creating in Confusing Times.” It begins with “A Love Supreme,” a collaboration between Salva Sanchis and Ms. De Keersmaeker created in homage to John Coltrane’s 1965 jazz masterpiece. Originally choreographed in 2005, this new version of the piece — to be performed by four young male dancers — is meant to embody Coltrane’s four-part suite. The collaborators explore Coltrane’s sense of abandon; in their dance as Ms. De Keersmaeker’s website states, “they accept the challenge of blending improvisation and composition into a seamless whole.” Sept. 27–30, newyorklivearts.org.
NEW YORK CITY BALLET Thirteen performances of Peter Martins’s production of “Swan Lake” is not exactly the most desirable way to start the fall season — ballets by George Balanchine would have been more restorative — but at least it means another chance to see the ravishing Sara Mearns perform Odette/Odile, a signature role. The sixth annual Fall Fashion Gala (Sept. 28), conceived by Sarah Jessica Parker, pairs choreographers with designers: Collaborators are Lauren Lovette with Fernando Garcia and Laura Kim of Monse; Justin Peck with Tsumori Chisato; Gianna Reisen with Virgil Abloh of Off-White; and Troy Schumacher with Jonathan Saunders. Get ready to toss some bouquets: the principal dancer Rebecca Krohn will give her farewell performance in Balanchine’s “Stravinsky Violin Concerto” before becoming a ballet master with the company (Oct. 7). And the spring season is something to cheer for: It features Robbins 100, a festival commemorating the centennial of the birth of Jerome Robbins featuring 19 of his ballets, as well as a world premiere by Justin Peck created in tribute to both Robbins and Leonard Bernstein. Until then, the corps de ballet member Peter Walker presents a new work — his second for the company — during the winter season and November marks the return of “George Balanchine’s The Nutcracker” (Nov. 24-Dec 31). David H. Koch Theater, Lincoln Center, nycballet.com.
ANDRÉ M. ZACHERY/RENEGADE PERFORMANCE GROUP “Untamed Space” is inspired by Mr. Zachery’s lineage in the American South and Haiti, as well as his upbringing on the South Side of Chicago. The focus of this interdisciplinary production is “marooning,” which relates to maroon colonies, or liberated groups of Africans who escaped to the hills and mountains after arriving in the Americas in the 17th and 18th centuries. In “Untamed Space,” Mr. Zachery considers their spiritual dimensions, and how, he said, “the creation of those impassible spaces has influenced contemporary identities of African-blooded people in the Americas.” Sept. 28-30, danspaceproject.org.
BETH GILL Abrons Arts Center welcomes the New York premiere of Beth Gill’s “Brand New Sidewalk,” a work for four dancers. For it, Ms. Gill uses her meticulous approach to address ideas about formalism in dance. Working in tandem with the composer Jon Moniaci and the lighting designer Thomas Dunn, she looks at abstraction through ideas about alienation, fantasy and power. Sept. 28 through Oct. 1, abronsartscenter.org.
METTE INGVARTSEN Last seen at MoMA P.S. 1 in “69 positions,” the Danish choreographer returns with “7 Pleasures,” in which 12 performers confront notions of nudity, body politics and sexual practice. This points to a bold new direction: By placing the naked body in a theater, they strive to question the notion of private and public space. “How,” the choreographer asks, “do we use pleasure’s joyful potential to disrupt cliché images attached to nudity and sexuality?” This is the first season organized by the Skirball’s new director, Jay Wegman, The official start comes on Sept. 15 with a free immersive dance party masterminded by the collective AUNTS. Sept. 29-30, nyuskirball.org.
2017 FALL FOR DANCE FESTIVAL Five enticing mixed bills light up this festival, now in its 14th year — and with tickets priced at $15 apiece, it’s easy to take a chance. This season looks to be promising, with “Twelve of ‘em,” a premiere by Mark Morris for the ballet dancer David Hallberg. Miami City Ballet makes a welcome return with a new ballet by Troy Schumacher. Other new works are by two MacArthur fellows, Kyle Abraham and Michelle Dorrance, while the City Ballet principal Sara Mearns and Honji Wang present the premiere of “No. 1,” a new work created by the contemporary duo of Ms. Wang and Sébastien Ramirez at a Jacob’s Pillow residency last summer. Oct. 2-14, nycitcycenter.org.
THE CHOCOLATE FACTORY This marvelous space dedicated to dance and performance in Long Island City, Queens, has just purchased a permanent facility in the neighborhood, but for the time being its forward-thinking presentation will continue at its current home. This season highlights works by Rebecca Davis, a choreographer with Minimalist leanings and a solid sense of design (Oct 12-21), along with Neal Medlyn (Nov. 1-4), Kelly Garfield (Nov. 29 through Dec 9), Jennifer Monson (Feb. 21 through March 3) and a collaboration with Melinda Ring and Renée Archibald (May 2-5). Through May 26. chocolatefactorytheater.org.
TERE O’CONNOR Live Arts Bard unveils Mr. O’Connor’s “Long Run,” for which he creates his own sound-score for the first time, embracing the more emotional aspects of his movement by pushing it to physical extremes until velocity and duration threaten to overtake the dancers. The stellar cast includes Simon Courchel, Marc Crousillat, Eleanor Hullihan and Lee Serle. Oct 13-15, fishercenter.bard.edu.
LUCA VEGGETTI In “Left-Right-Left,” a presentation by the Japan Society and Yokohama Noh Theater, Mr. Veggetti delves into noh theater, a traditional dramatic Japanese form, which has long influenced his work. Here, as director and choreographer, he collaborates with the musician Genjiro Okura to explore the intersection of noh and contemporary dance. The title, a translation of the “sa-yu-sa,” refers to the direction of body movement on a noh stage. Oct. 13-14, japansociety.org.
AMERICAN BALLET THEATER It’s a treat to see this company perform at the David H. Koch Theater, which is less cavernous than its usual New York setting, the Metropolitan Opera House. This fall, expect premieres by the company’s artist in residence, Alexei Ratmansky, as well as by Jessica Lang and Benjamin Millepied. In his work for 12 dancers, Mr. Ratmansky sets his ballet to new music — “Bukovinian Songs” (24 Preludes for Piano) — by Leonid Desyatnikov, the composer for “Russian Seasons.” Returning to the repertory are Frederick Ashton’s “Symphonic Variations” and Jerome Robbins’s “Other Dances.” Oct. 18-29, abt.org.
WHITE LIGHT FESTIVAL The treat of this festival is surely the Mark Morris Dance Group, which, with the Silk Road Ensemble, presents Mr. Morris’s acclaimed production of “Layla and Majnun.” Sung in Azerbaijani with English subtitles, this story of star-crossed lovers — predating “Romeo and Juliet” — is adapted by Mr. Morris with costumes and sets by Howard Hodgkin (Oct. 26-29, Rose Theater, Jazz at Lincoln Center’s Frederick P. Rose Hall). And in “Dancing Voices,” the vocalist, composer and director Meredith Monk teams up with the Young People’s Chorus of New York City to offer a program in which, as she puts it, “the body sings and the voice dances” (Oct. 20-21, Gerald W. Lynch Theater at John Jay College). Oct. 18 through Nov. 15, whitelightfestival.org.
PAM TANOWITZ DANCE AND SIMONE DINNERSTEIN Ms. Tanowitz, whose experiments in choreography place her work on the delicate edge between modern dance and ballet, sets her sights on Bach with the pianist Ms. Dinnerstein. “New Work for Goldberg Variations,” a piece for six women and one man, employs a slyly deconstructed classical movement vocabulary to translate Bach’s intricate score into movement. After its Duke University premiere, it heads to Peak Performances at Montclair State University. Oct. 19-22, peakperfs.org.
WALTER DUNDERVILL Known for his tactile use of fabric, Mr. Dundervill creates immersive performance environments that blend dance, visual art, costume and sound design. For the atmospheric “Skybox,” presented by New York Live Arts and performed offsite at Pioneer Works in Brooklyn, the choreographer is inspired by ancient Roman frescoes, a 17th-century mathematical theory and a late mannerist painting. The production begins where his “Arena,” Mr. Dundervill’s last performance installation, left off: In the skybox of a stadium with a group of enigmatic individuals. Oct. 20-22, newyorklivearts.org.
MIAMI CITY BALLET This beloved company, led by the artistic director Lourdes Lopez, has a busy season ahead that includes a new work by the contemporary choreographer Brian Brooks, a Jerome Robbins celebration and the return of George Balanchine’s 1967 ballet “Jewels” after a 10-year absence. The most curious addition, however, will be the new sets and costumes by the Cuban designers Isabel and Ruben Toledo for “George Balanchine’s The Nutcracker.” December at the beach sounds like a wise move. Oct. 20 through April 29, miamicityballet.org.
COMPAGNIE MAGUY MARIN The revered French choreographer returns to the Joyce with “BiT,” a confrontational look at violence in which six dancers shift between ecstasy and horror. How does a person’s movement create a rhythmic imprint? What happens when this occurs simultaneously? This presentation contains nudity and explicit sexual content and is recommended for those 18 and older. Oct. 25–29, joyce.org
MATTHEW BOURNE’S “THE RED SHOES” The British choreographer returns to New York City Center with his adaptation of the beloved 1948 film that tells the tale of a woman’s desire to dance as she wrestles between the attentions of two men. In New York, the production features alternating dancers as Victoria Page: Along with Ashley Shaw, who originated the role for Mr. Bourne’s New Adventures company, and the New York City Ballet principal Sara Mearns, Cordelia Braithwaite is slated to perform the role at the matinee performance of Nov. 4. Oct. 26 through Nov. 5, nycitycenter.org.
SIMONE FORTI, STEVE PAXTON AND YVONNE RAINER “Tea For Three” unites three of Judson’s most revered members for an evening of performance, improvisation and interaction. Sound enticing? Here is Mr. Paxton’s take on the program, as well as on the threesome who found much to admire in one another’s work 45 years ago: “They each bring their doughty selves to the stage, making dance and performance conversation. No tea is served, but food for thought.” Oct. 26-28, danspaceproject.org.
PERFORMA 17 Performa, dedicated to live performance that reaches across disciplines, hosts “Circulations,” a program focused on the melding of performance and architecture, for the seventh installment of the Performa Biennial. Highlights include Eiko Otake, the sublime Japanese dancer and choreographer in “A Body in Places — the Met Edition,” in which she appears at three sites — the Met Cloisters (Nov. 5), the Met Breuer (Nov. 12) and the Met Fifth Avenue (Nov. 19) — in five-hour stints. The Montreal architect François Dallegret, the creator of “The Environment-Bubble,” which he envisioned in 1965 as a temporary dome, collaborates with the Los Angeles architect François Perrin and the French artist Dimitri Chamblas to transform the “Bubble” into a setting “of physical and intellectual engagement.” Keep on the lookout: It will roam across the city. And in “Marching On,” Bryony Roberts and Mabel O. Wilson, architects and professors at Columbia University’s Graduate School of Architecture, Planning and Preservation, team up with the Marching Cobras of New York, a Harlem drum line-and-dance team that looks at the significance of marching in Marcus Garvey Park. Nov. 1-19, performa-arts.org.
PREETI VASUDEVAN This dance artist, who specializes in the classical Indian form Bharatanatyam, presents her new solo “Stories By Hand.” Ms. Vasudevan, who began taking classes in Bharatanatyam from the age of four in India, later studied at the Laban Center in London where she earned a masters in dance, with a focus on choreography and movement analysis. She integrates her singular East-meets-West sensibility in this solo, in which the hand movements of Bharatanatyam are stripped back, giving way to a new intimacy. Nov. 2-4, newyorklivearts.org.
BOSTON BALLET Artistic director, Mikko Nissinen, opens his company’s 2017-2018 season with the North American premiere of Wayne McGregor’s “Obsidian Tear,” a coproduction with the Royal Ballet. The production, for an all-male ensemble, is set to music by the Finnish composer Esa-Pekka Salonen. (Nov. 3-12). Other highlights include a triple bill of contemporary ballets: Along with works by Jorma Elo and Justin Peck, the program features William Forsythe’s “Pas/Part 2016,” which further cements the choreographer’s ever-growing relationship with the Boston Ballet (March 9 through April 7). The season closes with ballets by August Bournonville. Nov. 3 through June 10, bostonballet.org.
TANAQUIL LE CLERCQ’S “THE BALLET COOK BOOK”: A 50TH ANNIVERSARY CELEBRATION It’s an oddity to be sure, but alluringly so. Works & Process at the Guggenheim pays homage to the ballerina and her 1967 book, which culled ballet history and stories about food, as well as recipes from dancers and choreographers, including George Balanchine, Jacques d’Amboise, Melissa Hayden and Allegra Kent. Dancers from New York City Ballet perform excerpts from roles originated by the book’s contributors. As for the discussion portion? Mr. d’Amboise and Ms. Kent will join the food scholar Meryl Rosofsky and the dancers Jared Angle and Adrian Danchig-Waring to talk about Le Clercq, whose career was abruptly ended when she contracted polio. Nov. 5-6, worksandprocess.org.
YVONNE MEIER In this copresentation by Danspace Project and Invisible Dog Art Center, the veteran choreographer offers two works: “Durch Dick und Duenn” (“Through Thick and Thin”), a premiere for multiple soloists, and “Durch Nacht und Nebel” (“By Night and Fog”), a daring and memorable solo for Ms. Meier in which she transforms her body with a bevy of provocative costumes made of material like Band-Aids and plastic dolls. Nov. 9-12, theinvisibledog.org/.
GILLIAN WALSH In “Moon Fate Sin,” copresented by Danspace Project and Performa 17, Ms. Walsh, a conceptual choreographer in possession of a sparkling imagination, focuses on her setting. She describes the production, built in collaboration with performers Maggie Cloud, Mickey Mahar and Emily Hoffman, as “a liturgical dance for St. Mark’s Church” in which the group collectively explores “the terrain of the unconscious and the death drive.” Nov. 16-18, danspaceproject.org.
ALVIN AILEY AMERICAN DANCE THEATER Robert Battle, the artistic director of this much-beloved company, leads it into its annual five-week season at New York City Center. Along with premieres by the company member Jamar Roberts (to music by John Coltrane) and the Spanish choreographer Gustavo Ramírez Sansano (to Beethoven), there are three new productions: Twyla Tharp’s wondrous “The Golden Section,” featuring music by David Byrne; Jawole Willa Jo Zollar’s powerful look at homelessness, “Shelter”; and Talley Beatty’s turbulent “Stack-Up,” set to recorded pieces by Earth, Wind and Fire, Grover Washington Jr. and others. A special program on Dec. 17, “Celebrating the Men of Ailey,” shows off the company’s range of male dancers. Nov. 29 through Dec. 31, alvinailey.org.
SUZANNE FARRELL BALLET This season marks the end of Ms. Farrell’s company. In the Kennedy Center program, “Forever Balanchine: Farewell Performances,” she handpicks ballets from the Balanchine repertory: “Gounod Symphony,” “Tzigane,” “Meditation,” “Chaconne” and “Serenade.” As Ms. Farrell explains in a director’s note, “The program is a reflection of our last 16 years. It has been an honor to serve the art of ballet and George Balanchine.” Dec. 7-9, kennedy-center.org.
TRISHA BROWN DANCE COMPANY Ms. Brown died this year, but her company lives on with this showcase of three important proscenium works created during her final choreographic period, between the years 2000 and 2009. They each bring a different flavor of music to life: “Geometry of Quiet” (Salvatore Sciarrino), “Groove and Countermove” (Dave Douglas) and “L’Amour au théâtre” (Jean-Philippe Rameau’s baroque opera). December 12-17, joyce.org.
DORRANCE DANCE The tap dancer and choreographer Michelle Dorrance energizes the Joyce Theater with her vivacious spirit and skill. For her Joyce season, the MacArthur fellow revives and expands “Myelination,” a piece with live music composed by Gregory Richardson and Donovan Dorrance (the choreographer’s brother) and featuring the vocalist Aaron Marcellus. The program is rounded out by additional works that take advantage of her fine company of dancers. Dec. 19-31, joyce.org.
AMERICAN REALNESS 2018 This festival of experimental dance and performance, formed and organized by Thomas Benjamin Snapp Pryor, coincides with the Association of Performing Arts Presenters conference. It’s a big bang for your buck, with performances held both at Abrons Arts Center, as well as additional programming at Gibney Dance’s Agnes Varis Performing Arts Center and other locations. While the complete season hasn’t been announced, there are a few known quantities: Keyon Gaskin returns to Realness with his new “[a swatch of lavender],” in which he explores the timely notion of self-portraiture in an age of technology. Other programs will feature the disabled artist Claire Cunningham and the choreographer and performer Jess Curtis in “The Way You Look (at me) Tonight,” a sensory journey that they describe as a social sculpture. Finally, there will be a reprise of “Variations on Themes from Lost and Found: Scenes from a Life and other works by John Bernd,” by Ishmael Houston-Jones and Miguel Gutierrez in collaboration with composer Nick Hallett and the choreographer Jennifer Monson. Jan 9-16, americanrealness.com.
SAN FRANCISCO BALLET As part of its 2017-18 season, San Francisco Ballet presents “Unbound: A Festival of New Works,” conceived and planned by its artistic director and principal choreographer, Helgi Tomasson. Over the course of four programs, the company will unveil 12 new ballets by the following: David Dawson, Alonzo King, Edwaard Liang, Annabelle Lopez Ochoa, Cathy Marston, Trey McIntyre, Justin Peck, Arthur Pita, Dwight Rhoden, Myles Thatcher, Stanton Welch and Christopher Wheeldon. The studios will be buzzing with steps. April 20 through May 6, sfballet.org.
CAMILLE A. BROWN & DANCERS The choreographer presents “ink,” the final in a trilogy of works centering on culture, race and identity. In the new work, Ms. Brown looks at African-American narratives to see what has been appropriated, rewritten or silenced and for it, she draws on a variety of traditions: African-American social dance, African dance, tap, jazz, modern and hip-hop. Feb 1-4, peakperfs.org.
RONALD K. BROWN/EVIDENCE The talented Mr. Brown — who seamlessly blends African and modern dance — returns to the Joyce with a premiere for himself and the company’s associate artistic director, Arcell Cabuag, who celebrates 20 years with the group. Also on the program is the company premiere of “Dancing Spirit,” originally commissioned by the Alvin Ailey American Dance Theater, and “Come Ye, March.” Feb. 6-11, joyce.org.
92Y HARKNESS DANCE FESTIVAL This five-week festival opens with Abby Z and the New Utility (Feb. 23 and 24) in “abandoned playground,” a 2017 evening-length exploration described by its choreographer, Abby Zbikowski, as “hyper-physical dance.” Notably, she is the recipient of the 2017 Juried Bessie Award. The season continues with Pigeonwing Dance’s “Bewilderness,” a created in response to the writings of the author and activist Rebecca Solnit (March 9 and 10); an homage to Jerome Robbins by New York Theater Ballet (March 16 and 17); and Urban Bush Women in a program to be announced (March 23 and 24). 92y.org.
DANCING PLATFORM PRAYING GROUNDS: BLACKNESS, CHURCHES AND DOWNTOWN DANCE For the 12th installment of its popular platform series, Danspace Project invites the choreographer Reggie Wilson to curate this exploration of religion, race and, as he explained, “the potential of the body as a valid means for knowing.” It’s no coincidence that Danspace Project is located at the historic St. Mark’s Church in-the-Bowery; over four weeks, Mr. Wilson and others will take a closer look at religious spaces that became homes for dance by exploring, among other topics, how Civil Rights grass-roots activism in churches and community centers paved the way for new models of dance and performance. All of Danspace’s Platforms have something to offer, but this promises to be an excellent one. Feb 28-March 24, danspaceproject.org.
FLAMENCO FESTIVAL This soulful celebration of flamenco music and dance spotlights Ballet Nacional de España in “Suite Sevilla,” a new work by its director, Antonio Najarro. Set to a vocal and guitar score by Rafael Riqueni — performed live — Mr. Najarro explores what is described as “Andalusian longing” in a blend of classic Spanish dance and contemporary dance (March 2-4). Eva Yerbabuena Company returns to the festival in a program to be announced (March 9-10), while the dazzling Jesús Carmona presents the New York premiere of “Impetus,” in which his razor-sharp footwork shines (March 11). nycitycenter.org.
PAUL TAYLOR AMERICAN MODERN DANCE It’s too early to know much about what this organization has in store for its Lincoln Center engagement, but Doug Varone will contribute a new work as a part of the Taylor Company Commissions program. And Mr. Taylor, at 87, is still choreographing. He starts work on a new dance in December. March 7-25, ptamd.org.
JOANNA KOTZE This choreographer, with her blend of tough elegance, aims to examine our desires, flaws, strengths and fantasies in her latest work, the evocatively named “What will we be like when we get there.” The evening-length piece reunites Ms. Kotze with the dancer Netta Yerushalmy, the visual artist Jonathan Allen and the composer and musician Ryan Seaton. March 28-31, newyorklivearts.org
DANCE THEATER OF HARLEM This company continues to grow under the watchful eyes of its artistic director, Virginia Johnson, and executive director, Anna Glass. This season welcomes the return of Geoffrey Holder’s enthralling “Dougla” (1974), a work of pageantry and ritual that was last performed by the company in 2004. Holder, who died at the age of 84 in 2014, was a towering figure in the arts — a visual artist, a choreographer and a Tony-winning director and costume designer who had an innate understanding of theater. The season also features works by the company’s resident choreographer Robert Garland, George Balanchine’s “Valse Fantaisie” and a premiere by Darrell Grand Moultrie. April 4-7, nycitycenter.org.
JACK FERVER This talented writer, director and choreographer presents “Everything is Imaginable,” which is performed by American Ballet Theater principal James Whiteside; the Martha Graham Dance Company member Lloyd Knight; the dancer and costume designer Reid Bartelme; and Mr. Ferver. There are no shrinking violets in Mr. Ferver’s manic imagination; here, he aims his razor-sharp wit and choreographic precision on the lives and virtuosity of four queer performers. What is success? What is friendship? The production addresses that and more. April 4-7, newyorklivearts.org.
MARTHA GRAHAM DANCE COMPANY The Graham company has something great up its sleeve: a world premiere by Lucinda Childs, the acclaimed postmodern choreographer who in 1999 created the duet “Histoire” for the company. Set to music by Krzysztof Knittel, it will also be performed during the season, along with Lar Lubovitch’s “The Legend of Ten” (2010) and a reprise of Sidi Larbi Cherkaoui’s “Mosaic.” Mercifully, there are some classics as well: “The Rite of Spring” (1984), “Chronicle” (1936) — the timeless and decisive antiwar dance — and “Embattled Garden” (1958). April 11-14, nycitycenter.org.
LIL BUCK AND JON BOOGZ “Love Heals All Wounds”, an evening-length work by Movement Art Is — an organization formed by Lil Buck and Jon Boogz — explores police brutality and violence as a way to encourage diversity, inclusion and empathy as a uniting force. Using jookin, the Memphis street form, the dancers continue their quest to promote peace through dance. April 14, nyuskirball.org.
¡ADELANTE, CUBA! Cuba is the centerpiece of this festival, which comes to life in performances, talks and master classes. The dance highlight is the U.S. debut of Carlos Acosta’s new company, Acosta Danza, based in Havana. The program includes works by the Cuban choreographer Marianela Boán, the popular Belgian dancemaker Sidi Larbi Cherkaoui and the Spanish choreographer Goyo Montero. April 25-28, nycitycenter.org.
MEG STUART/DAMAGED GOODS AND MUNCHNER KAMMERSPIELE Ms. Stuart, an American who works and lives in Berlin and Brussels, unveils “Until Our Hearts Stop,” a work for six performers and three musicians who find themselves in a refuge of the choreographer’s making: a nightclub and an arena. For this evening-length work, she was inspired by people who retreat from the real world to create an environment of their liking with its own set of rules. “The performers,” as stated on her website, “are ‘freaky insiders,’ forced to connect in uncomfortable, yet playful ways. Navigating between naivety and despair, they are dreamers who long for reality.” May 4-5, nyuskirball.org.
AMERICAN BALLET THEATER In the spring, the company heads back to the Met for seven full-length ballets. In addition to “Giselle,” “La Bayadère,” “Romeo and Juliet,” “Swan Lake” and “Don Quixote,” there will also be welcome contributions by Alexei Ratmansky. Along with the return of his “Whipped Cream,” the company unveils his new “Harlequinade,” a reconstruction of Marius Petipa’s ballet “Les Millions d’Arlequin.” The season will also include Mr. Ratmansky’s “Firebird” and a new work by Wayne McGregor. May 14 through July 7, abt.org.
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