While these are not the only options, our fall dance guide will hopefully peel back one layer of a rich art form and make you eager to see more.
These and other Arpino classics like “Light Rain,” “Round of Angels” and “Trinity” will be on view in two different programs. Sept. 23-24 at the Auditorium Theatre, 50 E. Ida B. Wells Drive; tickets $45-$291 at 312-341-2300 andin store for the ballet company begins with choreographer Liam Scarlett’s masterpiece on the Modern Prometheus.
Macabre in every way, this gorgeous adaptation of Mary Shelley’s gothic classic premiered in 2016 but has not often been seen this side of the pond. It’s the first of two new-to-them Scarlett works on view this season in Joffrey’s growing catalog of the late choreographer’s stunning ballets.3. Mandala South Asian Performing Arts:This is perhaps never truer than in a new production celebrating the Hindu festival of lights. “Diwali: Illumination” replaces the company’s more literal telling of the Ramayana for an expansive abstraction appealing to all cultural traditions. Nayar guides a rich production incorporating choreography from Nejla Yatkin, who blends contemporary dance forms stemming from South Asia, North Africa and Black America. Fareed Haque’s original score is an extraordinary display of genre-bending rhythmic exploration combining principles from jazz and a variety of global classical influences. Oct. 12-13 at the Harris Theater for Music and Dance, 205 E. Randolph St.; tickets $13.50-$85 at 312-334-7777 andThis suburban company’s latest full-length original ballet, “BareFace,” returns for a two-night run within city limits. Choreographer Julianna Rubio Slager loves to tackle complicated, ancient tales, often with a Christian message attached. In this case, the Roman myth of Cupid and Psyche provides the foundation for her elegantly robust movement vocabulary. Oct. 18-21 at the Athenaeum Center for Thought and Culture, 2936 N. Southport Ave.; tickets $10-$62 at 312-820-6250 andIn some ways, Zephyr’s “S45″ is a return to the company’s roots in Chicago’s 1990s modern dance scene. But director Michelle Kranicke is not looking backward — though it may seem like restaging Merce Cunningham’s 1956 “Suite for Five” is an exercise in nostalgia. Nay, an impressive collective of choreographers will subsequently pull that piece apart and reconstruct it with a 21st century mindset. All this while leaning into Zephyr’s current obsession: how dance interacts with unconventional, immersive spaces.6. Molly Shanahan/Mad Shak: After several years’ absence, this revered veteran ensemble offers “Ex/body: strike, vibrate, shatter,” their first concert after an extended pandemic pause — long enough to ache for this collective’s contemplative, idiosyncratic and deeply embodied aesthetic. Looking inward, the dancers interrogate how trauma manifests in the body. The results are likely as gratifying for us as they are for them.
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