Flyaway Productions' Alayna Stroud. Photo by RJ Muna, courtesy Flyaway Productions.

Taking Flight

San Francisco For three years, Flyaway Productions has been exploring urban poverty by dancing in the streets, or, more specifically, in the air above them. Jo Kreiter's final installment in her study, Needles to Thread: Dancing Along These Lines in Continuum Alley, will focus on wage security for garment workers. Twelve free performances in the Tenderloin neighborhood, Oct. 1-10. flyawayproductions.com.

 

Jesús Carmona. Photo by Emilio Tenorio, courtesy City Center.

Fall for Dance Expands to Canada

Toronto  New York City Center’s Fall for Dance festival has created such a successful formula—cheap tickets for diverse programs of excellent companies—that it has spawned a sister event, Fall for Dance North. For its debut edition, the festival is importing Nrityagram from India and DanceBrazil, plus national favorites National Ballet of Canada, Peggy Baker Dance Projects and Esmeralda Enrique Spanish Dance Company. Dancers from Alvin Ailey American Dance Theater will bring Robert Battle’s electric solo Takademe and Christopher Wheeldon’s serene contemporary classic, After the Rain pas de deux. Sept. 29–Oct. 1, Sony Centre for the Performing Arts. ffdnorth.com.

New York City  Here’s what’s on tap for the 12th-annual celebration at New York City Center: ballet (Miami City Ballet, Houston Ballet, San Francisco Ballet, Boston Ballet), modern (Doug Elkins, Pam Tanowitz, Ailey, Paul Taylor Dance Company, Stephen Petronio Company, L-E-V), cultural dance (Che Malambo, La Compagnie Hervé KOUBI, Companhia Urbana de Dança, Nrityagram, Jesús Carmona & Cía), tap (Dorrance Dance and The Royal Ballet’s Steven McRae—yes, you read that right) and cross-genre collaborations (Fang-Yi Sheu and Herman Cornejo, and Bill Irwin and Tiler Peck). Sept. 30–Oct. 11. nycitycenter.org.

 

Trisha Takes Philly

Trisha Brown's Leaning Duets. Photo by John Mallison, courtesy Bryn Mawr.

Philadelphia area  Even today, Trisha Brown’s rule-breaking experiments in weight, gravity and coordination reveal new layers of complexity with each viewing. Through June 2016, Bryn Mawr College is offering an exhibition and classes, lectures and performances on its campus and across Philadelphia that let us take a closer look. To kick off the dancing, Trisha Brown Dance Company will perform a program of early works outside (Leaning Duets, Sticks, Spanish Dance, Group Primary Accumulation and Figure 8) on Oct. 18, and those made for the stage (Set and Reset, If you couldn’t see me and PRESENT TENSE), Oct. 23–24. trishabrown.brynmawr.edu.

 

Forsythe Frenzy

Forsythe répétiteur Dana Caspersen setting Quintett. Photo by Todd Rosenberg, courtesy Hubbard Street.

Chicago and Ann Arbor  William Forsythe’s flashy pointework peppers the repertoire of several U.S. ballet companies, but we don’t as often get to see his modern dance works stateside. So it will be exciting to watch the movers and groovers of Hubbard Street Dance Chicago take on a full evening of it. There’s Quintett, a somber yet playful work that Forsythe made for his terminally ill wife in 1993; N.N.N.N., making Hubbard Street the first U.S. company to acquire the piece; and the loud and epic table dance, One Flat Thing, reproduced. The series will visit Harris Theater for Music and Dance, Oct. 15–18, before traveling to University of Michigan, Oct. 27. harristheaterchicago.org, ums.org.

 

 

 

 

 

Invisible Thread rehearsal. Photo by Jimmy Ryan, courtesy ART.

 

A Do-It-All Dancemaker

New York City  Darrell Grand Moultrie has choreographed for ballet, Beyoncé and now off-Broadway: Diane Paulus’ Invisible Thread, which ran at American Repertory Theater in Cambridge, MA, last year under the title Witness Uganda, is transferring to Second Stage Theatre. The musical, about a young man who volunteers in Uganda, will run Oct. 31–Dec. 20. 2st.com.

 

 

Jenny May Peterson in Girl Gods. Photo courtesy Montclair.

Girl Power

Seattle and Montclair, NJ  Seattle’s beacon of feminism in dance, Pat Graney, mixes serious issues with absurdism. Like Pina Bausch, she offers surreal imagery, though less glamorous and more grounded. Her newest premiere, Girl Gods, explores themes of family history and the rage many women feel toward society. To underline the contrast between good behavior and the tumult within, her five dancers don cocktail dresses and dance on a blanket of dirt. On the Boards, Oct. 1–4, and Montclair State University’s Peak Performances, Oct. 22–25. ontheboards.org, peakperfs.org.