Our guide to the dance shows happening this weekend and in the week ahead.
VLAANDRE BALLET at the Joyce Theater (March 3-5, 7:30 p.m.; March 5, 8 p.m.; until March 7). Also known as the Royal Ballet of Flanders, this Belgian company is celebrating its 50th anniversary with a program of three best international choreographers displaying its refined contemporary style. “Kaash”, by Akram Khan, depicts a version of the goddess Shiva, with design by Anish Kapoor and score by Nitin Sawhney, who also contributes music to Sidi Larbi Cherkaoui’s sultry duet, “Faun”, with a modern version of Debussy’s ending. 19th century symphonic poem “Prelude to the Afternoon of a Faun”. The program is completed by Crystal Pite’s “Ten rescue-themed duets”. It features its blend of sleek swirl and dark elegance.
KIMBERLY BARTOSIK at New York Live Arts (March 4-7, 7:30 p.m.). For this choreographer, the body is the receptacle of all the tumults of our life, which are expressed by unbridled effort. In his new work, “Through the Mirror of Their Eyes,” captivating performers Joanna Kotze, Dylan Crossman and Burr Johnson form an unstable trio swirling around the stage like a hurricane to a score by Sivan Jacobovitz. Next are three young dancers – Dahlia Bartosik-Murray, Hunter Liss and Winter Willis – who deftly navigate the storm and eventually lead the way. Like Bartosik’s previous works, this one captures the chaos of the world and offers a way forward.
[Read about the events that our other critics have chosen for the week ahead.]
DANIEL LEVILLE DANCE at 92nd Street Y (Feb. 28, 8 p.m.; Feb. 29, 4 p.m. and 8 p.m.). This Montreal company is the latest to participate in the 92Y Harkness Dance Festival, in a performance of “The Fading of the Marvelous”, by Canadian choreographer Catherine Gaudet. In the work, five dancers – male and female, all topless – move in unison under bright lights, then separate into spastic solos in which they explore competing sensations. They become more and more moist until they vibrate and glow under dim lights, illustrating Gaudet’s interest in how the body transforms individually and collectively.
NEDERLANDS IN THE THEATER at New York City Center (March 4-5, 7:30 p.m.; through March 7). This company, considered one of the best in the world, arrives with three American premieres by European choreographers. “The Missing Door”, by Gabriela Carrizo, is a surprising dance-theatre piece about the moments preceding the death of a man who has the sinister gaze and foreboding of a horror movie; Marco Goecke’s “Walk the Demon” features dancers twisting and twisting their faces, as if exorcising the main character; and “Shut Eye” by house troupe choreographers Sol León and Paul Lightfoot, where dancers enter and exit through a central doorway and tangle in front of ghostly projections.
NYTB / CHAMBER WORKS at Florence Gould Hall (February 29-March 1, 11 a.m., 1 p.m. and 3:30 p.m.). Tchaikovsky’s revered score for “Sleeping Beauty” is over two and a half hours long, but that’s far too long for a small child to sit still. So this friendly troupe offers a simplified, one-act, one-hour version of the tale of Princess Aurora and all that happens to her. Choreographed by James Sutton, this sweet, truncated “Sleeping Beauty” (with a heavily edited score) is part of NYTB’s “Once Upon a Ballet” series, aimed at children ages 3 and up.
AMANDA SELWYN DANCE THEATER at the Baruch Performing Arts Center (March 5-7, 7:30 p.m.). This company celebrates its 20th anniversary with a new work entitled “Hindsight” which confronts memory and reflection. The piece brings together pieces from Selwyn’s past dances, along with new choreography, to create an old and new tapestry drawn from his substantial repertoire. Eleven performers will participate, adopting Selwyn’s lyrical style, which blends refined virtuosity with emotional theatrics, and creates a sense of abstract character and community among its dancers.
AFRICA STAGE! at the New Victory Theater (February 28, 7 p.m.; February 29, 2 and 7 p.m.; March 1, 12 p.m. and 5 p.m.; until March 15). In 1739, enslaved Africans in South Carolina revolted against their owners in what became known as Stono’s Rebellion. Drums played a role in the uprising and were banned as a result, so Africans turned their bodies into instruments, planting the seeds of stepping, a percussive full-body dance form still practiced today. This exuberant company, formed in 1994, blends step with other dance and art forms. Her latest work, “Drumfolk,” uses the Stono Rebellion as a starting point to explore the long and storied history of African-American dance in this country.