NDT in NYC

NEW YORK CITY   Nederlands Dans Theater returns to New York City Center for the first time since Emily Molnar took the helm. William Forsythe’s N.N.N.N. is joined by a pair of U.S. premieres: Imre and Marne van Opstal’s The Point Being and Sharon Eyal and Gai Behar’s Jakie. April 3–6. nycitycenter.org. —Courtney Escoyne

Centering Latina Voices

SAN FRANCISCO  The Carmen premiering at San Francisco Ballet this month won’t look or sound the same as usual. Choreographer Arielle Smith (a 2022 “25 to Watch” pick) sets the tale in contemporary Cuba—specifically at the family restaurant to which the titular heroine returns with her new husband after the death of her mother—while refocusing the story on Carmen and emphasizing the depth and complexity of the characters with cinematic flair. Escamillo, whom Carmen falls in love with, is recast as a woman, and the new score by Arturo O’Farrill only references the familiar Bizet opera as it layers in Cuban folk music. Joining the new ballet on the Dos Mujeres program is Annabelle Lopez Ochoa’s Frida Kahlo–inspired Broken Wings (which SFB artistic director Tamara Rojo commissioned and starred in during her English National Ballet tenure). The evening marks the first double bill choreographed by women and the first full program dedicated to Latinx stories at SFB. April 4–14. sfballet.org. —CE

Eclipsing All Else

NEW YORK CITY  Ahead of the Great North American Eclipse on April 8, the feath3r theory alights at NYU Skirball to premiere a devised dance theater work about a group of friends who team up to watch the celestial event and miss it. Raja Feather Kelly draws on Ernest Becker’s The Denial of Death, the popularity of the science fiction concept of the multiverse, and the ways social media exacerbates loneliness and society’s inability to face it for The Absolute Future (or Death, Loneliness, and The Absolute Future of the Multiverse, or How to Cover the Sun with Mud). April 5–6. nyuskirball.org. —CE

Carnival of Politics

SEATTLE  Choreographed and directed by Francesca Harper and performed by dancer Wendy Whelan and poet Marc Bamuthi Joseph, Carnival of the Animals reframes the Camille Saint-Saëns classic to consider the animals of a political jungle as it responds to the January 6 insurrection and contemplates the future of democracy. The SOZO-produced work premieres at the Meany Center for the Performing Arts on April 6. sozoartists.com. —CE

Memories of Matriarchs

HOUSTON  With three “Bessie” Awards, the Rome Prize, and a sumptuous stage presence, Jasmine Hearn is one of the most acclaimed contemporary dance artists to come out of Houston. But Memory Fleet: A Return to Matr, a performance, installation, and online archive that preserves the memories of eight Black Houston matriarchs, is their first major commission in their hometown. Commissioned by DiverseWorks, the multidisciplinary project includes original sound scores, choreography, and garments, along with guest performances by former Houston Ballet soloist Sandra Organ Solis and additional vocals and performances by local dancers and “Houston Aunties,” as Hearn calls them. The premiere at Houston Met April 6–7 will be followed by tours to Pittsburgh and New York City. diverseworks.org. —Nancy Wozny

Who’s Afraid of Virginia Woolf?

COSTA MESA, CA  American Ballet Theatre presents the North American premiere of Woolf Works, Wayne McGregor’s three-act meditation on the writings of Virginia Woolf, at Segerstrom Center for the Arts. Inspired by her novels Mrs. Dalloway, Orlando, and The Waves as well as her letters and diaries, the critically acclaimed ballet eschews narrative adaptation to take a stream of consciousness approach to the modernist writer’s oeuvre. April 11–14. abt.org. —CE

Packed With Premieres

CHICAGO  South Chicago Dance Theatre returns to the Auditorium Theatre for an evening filled to the brim with premieres by Donald Byrd, Joshua Blake Carter, Monique Haley, Tsai Hsi Hung, Terence Marling, and founding executive artistic director Kia Smith. April 27. southchicagodancetheatre.com. —CE

The Weight of a Lie

ZURICH  Cathy Marston brings her penchant for literary adaptation to Atonement, her first new work as Ballett Zürich’s director. In Ian McEwan’s novel and Joe Wright’s acclaimed film adaptation, teenage writer Briony Tallis tells a deliberate lie about her older sister’s lover and spends the rest of her life attempting to make up for its unintended consequences. Marston transfers the action to the world of ballet, making Tallis a choreographer while wrestling with the story’s questions about the fallibility of memory and the nature of self-deception and guilt. April 28–June 7. opernhaus.ch. —CE

A Jazzy Centennial

Dance artists join the nationwide celebration of iconic jazz drummer and composer Max Roach.

Max Roach 100 at The Joyce Theater

NEW YORK CITY  Richard Colton curated The Joyce Theater’s Max Roach 100 program, which will feature a new work to Roach’s Percussion Bitter Sweet album by Ronald K. Brown for Malpaso Dance Company and EVIDENCE, A Dance Company; Rennie Harris Puremovement in The Dream/It’s Time; and a solo by tap star Ayodele Casel set to a series of duets by Roach and Cecil Taylor. April 2–7. joyce.org. —CE

Bill T. Jones at Harlem Stage

NEW YORK CITY  Bill T. Jones/Arnie Zane Company revisits Degga, a 1995 collaboration between Jones, Max Roach, and Toni Morrison, as part of Harlem Stage’s E-Moves program. Also on offer is a new work by Roderick George. April 19–20. harlemstage.org. —CE

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