Dance
Informance: Bird Brain
The Philadelphia Dance Projects open with Jennifer Monson discussing Bird Brain, her multiyear project about bird migration, navigation and conservation.
Jan. 31, Performance Garage, 1515 Brandywine St., 215-546-2552, danceboxoffice.com.
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We've seen artistic director Ohad Naharin's work, but not his hot Israeli troupe Batsheva. Martha Graham helped this outfit get going; their work incorporates a lot of her high drama and emotional wallop.
Feb. 3, Annenberg Center, 3680 Walnut St., 215-898-3900, pennpresents.org.
Choreographer Niki Cousineau and composer-designer Jorge Cousineau continue their intense exploration of theatrical space, always inventive, artistically challenging and occasionally perplexing.
Feb. 6, Annenberg Center.
Headlong invites us to The Future of the Future — actually snippets of things past — as part of the Philadelphia Dance Projects. They'll perform with Keely Garfield, whose Limerance tackles risk, repercussions, wisdom and pain.
Feb. 6-7, Performance Garage.
Peter Martins' Fearful Symmetries is a ferocious high-speed movement assault, while European Annabelle Lopez Ochoa's Requiem for a Rose provides a more interior style. Twyla Tharp's Nine Sinatra Songs is a lingering nightcap.
Feb. 11-15, Merriam Theater, 250 S. Broad St., 215-551-7000, paballet.org.
These Canadians, who know how to mix ballet, modern, jazz and pure whimsy, make a welcome return. The troupe is clever without being silly, and they're not afraid to try anything.
Feb. 19-21, Annenberg Center.
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Philly's king of hip-hop dance explores 100NakedLocks, asking whether today's woes might eliminate human beings — except for 100 hip-hop survivors.
Feb. 20-21, Kimmel Center, 300 S. Broad St., 215-893-1999, kimmelcenter.org.
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Grimm, it's not: These wicked stepsisters are danced by guys in drag in this comedy set to Prokoviev.
March 13-21, Academy of Music, 1420 Locust St., 215-551-7000, paballet.org.
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Two former Royal Ballet principal dancers, who branched out to form their own company in 2001, fiddle around with classical technique and anything that strikes their fancy.
March 17-18, Annenberg Center.
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Chris Cox's The Striped Hat combines Seuss with Mozart; Matt Neenan contributes Wonder Why; plus something fresh from New York City Ballet guest Edward Liang.
April 4-11, Wilma Theater, 265 S. Broad St., 215-546-7824, balletx.com.
Working with avant garde guest choreographer Martha Clarke, Ruddy continues building a rep filled with outstanding collaborative dance gems created worldwide.
April 15-19 and 22-26, Performance Garage, 215-569-4060, ruddydance.org.
This fascinating troupe of experimenters is creating a work that's an "exploration of quantum entanglement and the invisible connection between objects." Spooky? You bet!
May 9-10, Kimmel Center, mirodancetheatre.org.
Sister company to Nacho Duato's huge National Dance Company of Spain, it's as spunky, way out and technically demanding as its big brother. It's ballet-based, but they don't shy away from anything.
May 14-16, Annenberg Center.
Arguably the oldest ballet still in active rep, La Sylphide created the image of the ethereal white-tutu-clad ballerina — with Scottish lad and Highland dancing.
June 5-13, Academy of Music.
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