The best dance shows in NYC this month

NYCB leaps back to Lincoln Center with a six-week slate that includes multiple dances by two of the great choreographers of the 20th century, company cofounders George Balanchine and Jerome Robbins, including Balanchine's Vienna Waltzes at the Spring Gala on May 8. Among the other offerings in the varied season are the live premiere of Kyle Abraham's When We Fell; recent works by Christopher Wheeldon, Justin Peck, Alexei Ratmasky and Caili Quan; older pieces by Peck, Ratmansky and the late Lynne Taylor-Corbett; a program of work set to music by Maurice Ravel, comprising four pieces that premiered 50 years ago at the company's first Ravel Festival (May 14–24); and, for the final stretch, Balanchine's full-length forest romp A Midsummer Night's Dream (May 27–June 1). Visit the City Ballet website for a full schedule of events. New York City Ballet's current roster of principal dancers includes Tyler Angle, Gilbert Bolden III, Chun Wai Chan, Adrian Danchig-Waring, Megan Fairchild, Jovani Furlan, Emilie Gerrity, Joseph Gordon, Anthony Huxley, Isabella LaFreniere, Sara Mearns, Roman Mejia, Mira Nadon, Tiler Peck, Unity Phelan, Taylor Stanley, Daniel Ulbricht, Andrew Veyette, Emma Von Enck, Peter Walker and Indiana Woodward. Veyette departs the company in a farewell performance on May 25.

[Note: Queen of Hearts returns in February for an encore run, with Lindsay Rose in the title role.] Lewis Carroll's trippy Alice in Wonderland books have inspired many theatrical spectacles, but Company XIV's seductive Queen of Hearts is a singular sexcess: a transporting fusion of haute burlesque, circus, dance and song. Your fall down the glamorous rabbit hole begins upon entering the troupe's louche Bushwick lair, where scantily clad server-performers slink about in flattering red lighting. A cursory knowledge of the source material will help you make sense of the show’s three-act cavalcade of Alice-inspired routines, as our blue-haired heroine embarks on an NC-17 coming-of-age journey under the guidance of the White Rabbit. As usual, Company XIV impresario Austin McCormick has assembled an array of alluring and highly skilled artists, who look smashing in Zane Pihlstrom's lace-and-crystal-encrusted costumes. A contortionist emerges in an S/M-vinyl cocoon and transforms into a beauteous butterfly; mustachioed twins, as Tweedledum and Tweedledee, perform a cheeky spin on the Marx Brothers' mirror trick. As the title royal, voluptuous vocalist Storm Marrero rules over all in her stunning 11-o'clock number. With its soundtrack of pop songs, attractive ensemble cast and immersive aesthetics—plus chocolate and specialty cocktails—Queen of Hearts feels like Moulin Rouge! for actual bohemians. Hell, it even has a cancan. Like Alice, you may resist returning to reality when...

Many dance shows take themselves very seriously indeed, but not this one. In Caitlin Trainor's monthly dance-comedy show, which she and her company have been developing since 2019, a cast of five uses the language of movement to tell outrageous stories that may or may not be true—and the audience votes to decide whether it believes them. 

David Parsons and his lively company return to the Joyce with a mixed bill that features four pieces by Parsons—a world-premiere solo for company veteran Zoey Anderson as well as In the End (set to music by the Dave Matthews Band), the Mozart-themed Wolfgang and company favorite Caught —as well as Robert Battle’s fierce quartet The Hunt and the world premiere of Rena Butler's Sheep’s Gothic, a collaboration with composer Darryl J. Hoffmans.