9 Dance Performances on Our Radar This March

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March’s efficiency calendar is action-packed, with perspective-shifting premieres from girls choreographers, bold works touring to the U.S., a pair of Broadway musicals impressed by standard novels, and extra. Right here’s what’s on the prime of our lists.

A Lake of Nightmares and an Android Coppélia

A ballerina in a silver jumpsuit balances en pointe; she appears to be an android. A male dancer watches her with a look of fascination and excitement as he moves toward her.
Jean-Christophe Maillot’s Coppél-i.A. Photograph by Alice Blangero, courtesy Les Ballets de Monte Carlo.

ON TOUR  Les Ballets de Monte Carlo brings two twists on ballet classics by inventive director Jean-Christophe Maillot stateside this month. Lac, which probes Swan Lake’s inherent dichotomies, lands at New Orleans’ Mahalia Jackson Theater March 1–2. Coppél-i.A., which updates the narrative so the lovers’ relationship is threatened not by a lifelike doll however, as an alternative, a synthetic intelligence, follows March 7–10 at Segerstrom Middle for the Arts in Costa Mesa, CA. balletsdemontecarlo.com.

Like Rabbits

Two dancers in mildly scary bunny masks rock onto their back feet as they stare forward.
Pontus Lidberg’s On the Nature of Rabbits. Photograph by Andrea Avezzù, courtesy Le Biennale di Venezia/Richard Kornberg & Associates.

NEW YORK CITY   A surreal contemplation of childhood attachments and the character of want, Pontus Lidberg’s On the Nature of Rabbits makes its North American debut at The Joyce Theater March 6–10. joyce.org.

Dismantling Traditional Cinema

A Black man cradles a Black woman to his chest as she hides her face against his. She brings her palm to the side of his face.
Kayla Farrish’s Put Away the Hearth, pricey. Photograph by Elyse Mertz, courtesy John Hill PR.

SAN FRANCISCO  How do the archetypal roles in traditional style movies—the romantic lead, the hard-boiled detective, the femme fatale—shift when embodied by BIPOC performers? Kayla Farrish is joined by 5 different dancers and musician Alex MacKinnon to discover the query, pushing again in opposition to the erasure and marginalization of non-white actors in Hollywood’s golden age, in Put Away the Hearth, pricey, which premieres at ODC Theater March 8–10. odc.dance.

Consuming Its Personal Tail

Nejla Yatkin arches back as she stretches her front heel forward. She twists toward the front, palms forming a triangle pressed to her pelvis. The white walled space is lit in shades of pink and yellow. Audience members, many wearing face masks, observe from seats on chairs and cushy pillows.
Nejla Yatkin in her Ouroboros. Photograph by Enki Andrews, courtesy JAC Communications.

CHICAGO  Ouroboros, a brand new evening-length dance-theater solo from Nejla Yatkin, attracts inspiration from Center Jap snake dances and the choreographer’s nomadic ancestry. Set within the spherical, the work invitations viewers participation because it incorporates a number of languages and motion kinds, all connecting to, in Yatkin’s phrases, “heal the sacred thread of the female.” March 8–10. ny2dance.com.

Assertion Begins

Micaela Taylor is intensely focused as she rests her hands at hip height, moving onto her right foot. To her left, a half dozen dancers in rehearsal gear imitate her movement in a vertical line.
Micaela Taylor in rehearsal. Photograph by Michael Slobodian, courtesy Ballet BC.

VANCOUVER AND SURREY  Ballet BC’s NOW program incorporates a pair of commissions—one from Micaela Taylor, the opposite by choreographic duo Out Innerspace (Tiffany Tregarthen and David Raymond)—alongside the return of Crystal Pite’s darkly political dance theater work The Assertion. This system premieres in Vancouver March 7–9 and repeats in Surrey March 22–23. balletbc.com

Intimate and Explosive

Seven dancers pile and curl atop each other on the floor, heads resting on chests and hips. They wear knits and layers in shades of reds, greys, and blues.
Doug Varone’s To My Arms/Restore. Photograph by Erin Baiano, courtesy Doug Varone and Dancers.

NEW YORK CITY  Doug Varone’s two-part To My Arms/Restore performs with contrasts. The primary half, set to a set of Handel arias, evokes intimacy, love, and loss, whereas the second focuses on visceral, explosive physicality to the beats of Nico Bentley’s “Handel Remixed.” With dwell music by MasterVoices and New York Baroque Integrated, the brand new evening-length premieres at NYU Skirball March 22–23. nyuskirball.com.

New at NW

Joseph Hernandez is show from the waist up, facing the left as he reaches his arms forward and pulls back with his hips. A dancer immediately behind him does the same, facing the opposite direction.
Joseph Hernandez in rehearsal with NW Dance Challenge. Photograph by Blaine Truitt Covert, courtesy NW Dance Challenge.

PORTLAND, OR  Affiliate choreographer Joseph Hernandez, former Luna Negra Dance Theater inventive director Gustavo Ramírez Sansano, and unbiased dance theater choreographer Nicole von Arx every contribute a premiere to NW Dance Challenge’s spring program, Secret Tales. March 29–30. nwdanceproject.org.

Books on Broadway

Two page-to-stage diversifications sing and dance to the Nice White Approach.

The Pocket book

A man in jeans holds a barefoot woman in a dress up, his arms curved around her hips and waist. They smile at each other as rain splashes around them.
Chicago Shakespeare Theater’s manufacturing of The Pocket book. Photograph by Liz Lauren, courtesy Boneau/Bryan-Brown.

Based mostly on the novel by Nicholas Sparks and the blockbuster film it impressed, the musical adaptation follows Allie and Noah as their love repeatedly brings them again collectively regardless of the forces making an attempt to maintain them aside. Katie Spelman (affiliate choreographer on Moulin Rouge! The Musical) choreographs to music and lyrics by Ingrid Michaelson. Opens on the Gerald Schoenfeld Theatre March 14. notebookmusical.com.

Water for Elephants

A dancer flies high above the stage in a toe touch as a trio stands below waiting to catch her. Eight elaborately costumed circus performers form a circle around them, all facing in and up.
Alliance Theatre’s manufacturing of Water for Elephants. Photograph by Matthew Murphy, courtesy Polk & Co.

A younger man jumps on a practice with no concept of its vacation spot and finds himself swept away by a touring circus. As within the novel by Sara Gruen, the journey is recounted by means of the reminiscences of the primary character’s older self within the musical adaptation, which brings the circus to life by means of choreography by Jesse Robb and Shana Carroll (who additionally acts as circus designer). Opens March 21 on the Imperial Theatre. waterforelephantsthemusical.com.

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