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3 Concerts, 2 Musicals and 1 Festival You Won't Want to Miss This April

Hadestown at London's National Theatre. Photo by Helen Maybanks, Courtesy DKC/O&M

There are more intriguing performances than one person could possibly see this month, so our editors' picks run the gamut. The topics—Greek mythology and systemic racism, the Ballets Russes and secondary incarceration—are as varied as the styles—contemporary, bharatanatyam, aerial. The one through line: They're bound to make you look at the world a little differently.


Stay Woke

Donald Byrd's SHOT

Nate Watters, Courtesy Spectrum Dance Theater

SEATTLE The violence of racism has long been a subject for Donald Byrd, artistic director of Spectrum Dance Theater. His new Wokeness Festival comprises three segments: 2017's SHOT, about the persistence of police brutality toward black men; Dance, Dance, Dance #2, which includes a nod to Merce Cunningham's centennial in the form of his 1960 work Crises and a new Cunningham-inspired work by Byrd; and the premiere of Byrd's Strange Fruit, which reflects his responses to the Jim Crow Era. The festival also includes community dialogue around issues of racism, gender and justice. April 10–28. spectrumdance.org. —Wendy Perron

Only If for a Night

Ashwini Ramaswamy's Nocturne

Sally Cohn, Courtesy Ragamala

ST. PAUL, MN String quartet Brooklyn Rider and acclaimed bharatanatyam troupe Ragamala Dance Company share an evening for the latest Women of Substance event at The O'Shaughnessy. The former opens with their "Healing Modes" and a quintet of commissions from women composers; the latter presents Ashwini Ramaswamy's Nocturne, an homage to the enigma of night. April 12. oshag.stkate.edu. —Courtney Escoyne

Separation, Suspended

Flyaway Productions

RJ Muna, Courtesy John Hill PR

SAN FRANCISCO AND RICHMOND, CA One of the forms of family separation that rarely gets aired in the media is the estrangement between inmates and the women who love them. Jo Kreiter, artistic director of Flyaway Productions, premieres The Wait Room, a site-specific work for six women that explores the emotional toll of these heart-wrenching circumstances. This is a personal piece for Kreiter, who endured "secondary incarceration" for years. Partnering with Oakland-based Essie Justice Group, an organization of women with incarcerated loved ones, Kreiter enlists the help of set designer Sean Riley and composer Pamela Z. San Francisco, April 19–27; Richmond, CA, May 17–18. flyawayproductions.com. —WP

When Ancient Was Avant-Garde

Reid Bartelme in Gwen Welliver's Couple Riding at Works & Process

Robert Altman/Works & Process at the Guggenheim, Courtesy Michelle Tabnick Public Relations

NEW YORK CITY Dance's favorite design duo, Reid Bartelme and Harriet Jung, are back at Works & Process at the Guggenheim. This time, they're collaborating with New York University's Institute for the Study of the Ancient World for a costume and dance commission responding to ISAW's exhibition "Hymn to Apollo: The Ancient World and the Ballets Russes" (through June 2), using original costumes and designs from Sergei Diaghilev's company as a leaping-off point. April 28–29. guggenheim.org. —CE

Not Your Usual Song and Dance

Contemporary choreographers take on the Great White Way

Oklahoma!

Oklahoma! at St. Ann's Warehouse

Teddy Wolff, Courtesy DKC/O&M

NEW YORK CITY Will this fresh revival, direct from its run at St. Ann's Warehouse in Brooklyn last fall, manage to retain its charming, disarming intimacy as it scales up to Broadway? John Heginbotham's choreography (inspired by Agnes de Mille's) will make the transfer, but we have to wonder whether the cast members will still be sharing bowls of chili with the audience at intermission. Opens April 7. oklahomabroadway.com. —CE

Hadestown

Hadestown at London's National Theatre

Helen Maybanks, Courtesy DKC/O&M

NEW YORK CITY Hades is a factory owner and Persephone is (still) his bitter wife; Eurydice is looking for stability and Orpheus is (still) a talented, if unfor­tu­nate, musician. Greek mythology is scrambled and set to a slinky, soulful score in Hadestown. The David Neumann–choreographed musical opens on Broadway April 17 after its run at London's National Theatre. Whatever you do, don't look back. hadestown.com. —CE

Health & Body
Getty Images

It's hour three of an intense rehearsal, you're feeling mentally foggy and exhausted, and your stomach hurts. Did you know the culprit could be something as simple as dehydration?

Proper hydration helps maintain physical and mental function while you're dancing, and keeps your energy levels high. But with so many products on the market promising to help you rehydrate more effectively, how do you know when it's time to reach for more than water?

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Breaking Stereotypes
James Beaudreau, Courtesy Lara

Inside a bustling television studio in Los Angeles, Lindsay Arnold Cusick hears the words "Five minutes to showtime." While dancers and celebrities covered head to toe in sequins whirl around preparing for their live performances on "Dancing with the Stars," Cusick pauses to say a prayer to God and express her gratitude.

"I know that it's not a given, and I'm grateful for the opportunity to do what I love for a living," says Cusick, a member of The Church of Jesus Christ of Latter-day Saints. For her, prayer is a ritualized expression of her faith that she has maintained since she was a girl in Provo, Utah. Even with her seven-plus years of industry experience, she always takes a moment to steady herself and close her prayer in Christ's name before rushing onto the stage.

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Broadway

The hotly-debated Michael Jackson biomusical is back on. Not that it was ever officially off, but after its pre-Broadway Chicago run was canceled in February, its future seemed shaky.

Now, the show has secured a Broadway theater, with previews starting July 6 at the Neil Simon Theater.

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Dance History
Jacques d'Amboise leading a National Dance Institute class. Photo by Lois Greenfield, Courtesy DM Archives

In the October 1969 issue of Dance Magazine, we spoke with Jacques d'Amboise, then 20 years into his career with New York City Ballet. Though he became a principal dancer in 1953, the star admitted that it hadn't all been smooth sailing.

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