9 Dance Performances Heating Issues Up This February


Model-new works and U.S. premieres fill February’s jam-packed efficiency calendar. Right here’s what we need to catch most.

Romeo and Juliet and {Couples} Remedy

A male dancer is on hands and knees, fingers of one hand extended as though to brush the foot of the female dancer standing over him. She stands neutrally, looking down at what he is doing. Upstage is a barebones set of a small table with two chairs and two wooden doors.
Solène Weinachter and Kip Johnson in Misplaced Canine’s Juliet & Romeo. Photograph by Kelsey Carman, courtesy Stanford Dwell.

STANFORD, CA  What if Romeo and Juliet, as an alternative of dying as star-crossed teenagers, lived to develop up and needed to learn to cope with one another? Ben Duke’s Juliet & Romeo reveals the couple, now roughly 40 years outdated, placing on a dance theater efficiency for a dwell viewers to confront their relationship troubles and the pressures of being the overgrown poster kids for romantic love. Misplaced Canine’s critically acclaimed duet makes a uncommon look stateside at Stanford Dwell Feb. 1–3. dwell.stanford.edu. —Courtney Escoyne

Elevate It Up

Over a dozen dancers pose in back attitude, the women on pointe, working side arm raised in high fifth. All are dressed in shades of blue, while one male and one female dancer near center have purple tops.
Collage Dance Collective in Kevin Thomas’ Rise. Photograph by Tre’bor Jones, courtesy Collage Dance Collective.

MEMPHIS  Hope Boykin contributes a premiere to Collage Dance Collective’s RISE program. Additionally on faucet are the ballet that lends this system its title—creative director Kevin Thomas’ Rise—and Amy Corridor Garner’s Saint Glory, which was impressed by her grandparents’ Catholic and Baptist roots. Feb. 3–4. collagedance.org—CE

Desert Rose

A dancer downstage is captured mid-flip, entirely upside down as he flies through the air. A large group of brightly costume dancers cluster upstage, smiling as one foot raises off the ground in unison.
Message In A Bottle. Photograph by Helen Maybanks, courtesy Sadler’s Wells.

ON TOUR  ZooNation hits the street, starting a North American tour of the Kate Prince–choreographed Message In A Bottle this month. Set to songs by Sting newly organized by Alex Lacamoire, the dance theater work follows a displaced household as three separated siblings enterprise out on their very own. The tour kicks off in Los Angeles Feb. 6–11 and wraps up in Philadelphia Could 14–19, with stops in Denver, Chicago, Montreal, Toronto, Boston, Charlotte, Washington, DC, and New York Metropolis. sadlerswells.com. —CE

The Jilted Bride

A dancer in an old-fashioned, lacy wedding dress kneels with her arms beseechingly thrust forward, head tipped back as though beseeching something or someone for aid. A blurry cross is visible in the background.
Dance NOW! Miami’s Havisham!. Photograph by Kenny Palacios, courtesy Dance NOW! Miami.

MIAMI  To commemorate glad vows, save a chunk of marriage ceremony cake. However after a jilting, what might a wronged girl do? Freeze the betrayal scene and preserve carrying the bridal robe—the wounding of others to comply with. Redemption, although, awaits. That’s the premise of Havisham!, Dance NOW! Miami’s site-specific reimagining of essentially the most Gothic character from Charles Dickens’ Nice Expectations, Miss Havisham. Right here she positive aspects an expiatory backstory—two dancers portraying her at totally different durations, enamored then damaged—seen from firm co-director Hannah Baumgarten’s feminist perspective. To South Seashore Chamber Ensemble’s pop and classical alternatives, Pip, Estella, and the brutish Drummle weave out and in as audiences traipse via North Miami Seashore’s Historic Spanish Monastery. Feb. 7– 8. dancenowmiami.org. —Guillermo Perez

Curated by Camille

NEW YORK CITY  Gibney’s DoublePlus continues this month with a pair of premieres by movie and theater choreographer Mayte Natalio and multidisciplinary experimental artist Maleek Washington, who had been chosen for this system and mentored by Camille A. Brown. Feb. 8–10. gibneydance.org. —CE

Maleek Washington poses against a pale backdrop. One heel lifts lightly as he slides to the side, an arm crossed over his ribs as the opposite hand rises toward his face. He looks thoughtfully at the camera from under a wide-brimmed hat; He wears a matching dark blue suit with a pleated skirt or kilt and white sneakers.
Maleek Washington. Photograph by Maddy Talias, courtesy Gibney.

Movin’ It On

Ten dancers are arrayed on and inside a loose circle of white benches set before a wooden structure upstage. The dancer at the center smiles as she pushes two hands forward, toward the audience. The dancers around her either reach toward her or stretch away.
Dallas Black Dance Theatre in Matthew Dashing’s ODETTA. Photograph by Amitava Sarkar, courtesy DBDT.

DALLAS  For this yr’s iteration of Dallas Black Dance Theatre’s Cultural Consciousness program, firm member and co-rehearsal director Hana Delong premieres Publish Mortem. Becoming a member of it are His Grace, a tribute to Nelson Mandela by Christopher L. Huggins, and Matthew Dashing’s ODETTA, set to songs by songwriter and civil rights activist Odetta Holmes. Feb. 9–10. dbdt.com. —CE

New Works in Nashville

A Black ballerina poses en pointe against a dramatically lit grey backdrop. She is in parallel, knees squeezed together as she lifts one foot behind her. She looks over her shoulder to the camera, arms in an elegant "L' shape. She wears a black tutu with dramatic poufs at the upper arms and pointe shoes that match her skin color.
Nashville Ballet’s Claudia Monja. Photograph by MA2LA, courtesy Nashville Ballet.

NASHVILLE  For its annual Perspective program, Nashville Ballet will debut commissions from resident choreographer Mollie Sansone, Kidd Pivot dancer Jermaine Spivey, and Camille A. Brown & Dancers member Yusha-Marie Sorzano, all with music carried out dwell by native musicians. Feb. 9–11. nashvilleballet.com. —CE

Bach as Blueprint

Anne Teresa de Keersmaeker looks over her shoulder on a dark stage. Her arms are softly raised in front of her, torso just beginning to contract. Her grey hair is pulled neatly back from her face; she wears a sheer dark robe over a nude colored tank top and dark briefs.
Anne Teresa De Keersmaeker in
The Goldberg Variations, BWV 988. Photograph by Anne Van Aerschot, courtesy Helene Davis PR.

NEW YORK CITY  In The Goldberg Variations, BWV 988, Anne Teresa De Keersmaeker makes use of certainly one of Johann Sebastian Bach’s most well-known compositions because the blueprint for an evening-length solo. De Keersmaeker performs via the aria and 30 variations alongside pianist Pavel Kolesnikov for the North American premiere of the work at NYU Skirball. Feb. 22–24. nyuskirball.org. —CE

Liberating Lilith

Fanny Ara is a blur of motion, loose hair flying and the fringe on her shirt and skirt swirling as she flings one arm upward.
Fanny Ara. Photograph by David Charnack, courtesy John Hill PR.

SAN FRANCISCO  In Lilith, flamenco artist Fanny Ara makes use of the mythological determine—Biblical Adam’s first spouse who deserted Eden, variously interpreted as a drive for evil or an emblem of feminine independence—to think about the load of expectations imposed by herself and others, and her journey towards liberation. The evening-length solo work, premiering at ODC Theater Feb. 23–25, sees Ara joined by musicians Gonzalo Grau and Vardan Ovsepian. odc.dance. —CE


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