Our guide to dance performances happening this weekend and in the week ahead.
BALLET HISPÁNICO at the Apollo Theater (Nov. 22-23, 8 p.m.). This popular company — sharp in its steps, smooth in its attitude — returns to the Apollo Theater for two performances that feature the premiere of “Tiburones” (“Sharks”) from the choreographer Annabelle Lopez Ochoa, a frequent collaborator. The work critiques and attempts to correct the portrayal of Latino artists in the entertainment industry, while challenging gender roles as well. Also on the program: the return of “Nací,” a 2009 dance by Andrea Miller that draws from the Sephardic Jewish culture of Spain, and “Con Brazos Abiertos,” a 2017 piece by Michelle Manzanales that reconciles the two parts of her Mexican-American identity with a sense of humor and an eclectic soundtrack.
ALI CHAHROUR at the Fisher Center for the Performing Arts at Bard College in Annandale-on-Hudson, N.Y. (Nov. 22, 7:30 p.m.; Nov. 23, 3 p.m.; Nov. 24, 4 p.m.). As part of the Live Arts Bard biennial, Chahrour, a contemporary Lebanese choreographer who draws from the literary, cultural and religious traditions of the Arab world, presents his newly commissioned work, “Night.” The dance aims to capture the age-old plight of lovers across time and place whose relationships violate social norms, and whose lust is replaced by longing after forced separation. Chahrour focuses on the physical consequences of that rupture, using violent convulsions to depict the breakdown of the body as it fights against cultural restrictions on love while yearning for reunion.
CUMPARSITA: THE TANGO at the Leon M. Goldstein Performing Arts Center at Kingsborough Community College (Nov. 23, 8 p.m.). In 1997, the revue “Forever Tango” opened on Broadway and became a surprise hit, returning a few times since, most recently in 2013. The creator of that show, Luis Bravo, has fashioned a new one from the same cloth: flashy costumes, smoldering stares, melodramatic intensity and an acrobatic version of the titular Argentine partnered dance, executed by several pairs of performers. “Forever Tango” was both embraced and dismissed as a spectacle (and applauded for its live music), and “Cumparsita” will likewise appeal to those with maximalist taste. The performance has sold out online; contact the box office regarding additional tickets that might become available.
MERCE CUNNINGHAM at the 92nd Street Y (Nov. 22, noon) and the Solomon R. Guggenheim Museum (Nov. 24-25, 7:30 p.m.). The celebration of the centennial of Cunningham’s birth continues on Friday at the 92Y, where the former New York Times dance critic Alastair Macaulay, a Cunningham scholar and fan, and Patricia Lent, director of licensing for the Merce Cunningham Trust, will host a program that focuses on the 1989 work “August Pace,” and includes performance excerpts and a discussion with a panel of Cunningham alumni. On Sunday and Monday at the Guggenheim, the former Cunningham dancer Dylan Crossman will present a program comprising Cunningham solos extracted from a spectacular showcase in April, as well as several duets that Crossman will dance with his fellow alum Jamie Scott. A discussion of Cunningham’s legacy will follow.
NEW CHAMBER BALLET at New York City Center, Studio 5 (Nov. 22, 8 p.m.; Nov. 23, 7:30 p.m.). For 15 years now, the German-born choreographer Miro Magloire has quietly and consistently presented evenings of classical concert dance paired with live contemporary classical music. The intimacy and modesty of his usual performance space — a studio rather than a theater — paired with the easy grace of his dancers and his ear for interesting scores make for satisfying performances. To mark this anniversary, and the departure of two longtime dancers, Magloire introduces two new ballets — a solo set to music by Schubert and an ensemble piece to Dvorak. They are accompanied by repertory works to John Cage, Wolfgang Rihm and Karlheinz Stockhausen.
NIA & NESS at JACK (Nov. 22-23, 7:30 p.m.). Nia Shand and Ness White met in 2013, became romantically involved and, a few years later, formed a company that pairs virtuosic poetry with articulate dance. In “Home,” their second evening-length piece, which builds on a previous work, “Run,” Nia & Ness offer a more detailed portrait of their lives as a black lesbian couple in New York City, using spoken text and dynamic movement to convey the violence and small daily affronts they have experienced. They also illustrate how the strength of their love has served as a kind of antidote to the sometimes hostile world that surrounds them.