Portland dancer Tahni Holt teams up with dancers Ezra Dickinson and Allie Hankins in a new piece that "thrives upon queer subversion of hetero love." This is a world-premiere performance before the piece goes to Portland for the TBA festival. $20.
Yannick Matthon, a member of Crystal Pite’s company Kidd Pivot, restages parts of Dark Matters, a piece of dance theater that blew the minds of dance-heads and non-dance-heads alike at On the Boards in 2011.
A reprise of the piece by Spectrum choreographer Donald Byrd about "the emotional exhilaration, damages, and the ecstasies of his life in regard to love," set to Benjamin Britten's cello suites. $25-$30.
A dance performance that features “LED lights attached to the dancers like in the new Lexus TV commercial."
Though the event slogan "dance, theatre, mirth... and murder" reads a bit like some sort of choreographed Miss Marple, it's actually set in Agamemnon’s Palace during a debauched Trojan War wrap party. This multi-genre spectacle by Frazer Grace is directed by Gin Hammond and will feature the talents of Ana Maria Campoy, Maya Felton, Elizabeth Belyea, and others. $20.
Contemporary dance by guest choreographers Penny Hutchinson and Jürg Koch with live "soundscapes" by the Sam Boshnack Quintet. $20-$22.
The jewels in question are Diamonds, Rubies, and Emeralds, each of which becomes a distinct movement set to the music of Tchaikovsky, Stravinsky, and Fauré, respectively, in Balanchine's "abstract" ballet, which is not dance about stories or characters but dance about dancing. $30-$177.
Featuring, among many others, Aaron Loux of Mark Morris Dance Group and Cirque du Soleil alum Darren Bursek. $25.
Spectrum Dance Theater, choreographed by Donald Byrd, performs a piece set to Benjamin Britten's cello music. $36.
This year's annual Chamber Dance Company concert features excerpts from Susan Marshall's Cloudless, Nacho Duato's Jardi Tancat, and Danial Shapiro and Joanie Smith's To Have and to Hold. $20-$22.
Dancer and choreographer (and Stranger Genius Award finalist) Amy O'Neal returns to On the Boards, this time with five b-boys, to explore "the paradoxical nature of b-boy culture as it relates to femininity and the value systems of dance battling, commercial dance, stage performance, and freestyle cyphers." Featuring Fever One, DJ WD4D, lighting design by Ben Zamora, and others. $23-$25.
The annual Nightmare Before Christmas–inspired burlesque/cabaret show by Can Can Productions with music by Orkestar Zirkonium. $20-$25.
The four short pieces selected by PNB director Peter Boal for this program are: A Million Kisses to my Skin (Bach/David Dawson), Rassemblement (Toto Bissainthe/Nacho Duato), Before After (Marc Van Roon/Annabelle Lopez Ochoa), and Debonair, a world premiere choreographed by Justin Peck to George Antheil's Serenade for String Orchestra No. 1. $30-$177.
Three pieces from the influential American choreographer whose work has been compared by former Village Voice critic Deborah Jowitt to the "elusive poetry of the mundane" by writers such as John Ashbery. Performed throughout the course of a weekend, Thurs and Friday feature BLEED, and Saturday will bring us poem and Secret Mary. $23-$25.
This weeklong string of events includes conversations, classes, readings, dinners, and performances of pieces entitled BLEED, Sister, poem, and Secret Mary. Curated by choreographer O'Connor and Velocity Dance Center's Tonya Lockyer, this is a coproduction of Velocity and On the Boards, which will both serve as venues for various events throughout the week. $12.
The Can Can Castaways, as we've often said in The Stranger, are like a gateway drug for modern dance. People show up at the subterranean, red-lit bar, order a few drinks, and expect to see some hardbodies dancing—they get that. But what they also get is an imaginative team of dancers and designers (often the dancers are the designers), who create dreamscapes from the Moulin Rouge to a bondage club in Tokyo. $10-$45.