Jazz, Tap & Theater
April 16­–18

As a tap duo, DeWitt Fleming Jr. and Jared Grimes are low-comedy and high-technique. The roles aren't fixed, though Grimes is the one always squeezing off stunts that make regular tap wizards incredulous. Their combination of showmanship and skill has attracted the royal attention of Wynton Marsalis, who has been inviting the boys as guests with the Jazz at Lincoln Center Orchestra and has now composed for them a five-part ballet called Spaces. Rose Theater, Broadway at 60th Street, jalc.org

Merce Cunningham at 90
April 16–19

Graham's only evening-length dance: Fang-Yi Sheu in Clytemnestra
Graham's only evening-length dance: Fang-Yi Sheu in Clytemnestra
Stay tuned for Sally Silvers's twists at P.S.122
Jenny Woodward
Stay tuned for Sally Silvers's twists at P.S.122

Recently, the best way for New Yorkers to catch the Cunningham gang has been to head up the Hudson to Dia:Beacon. The penultimate opportunities for one of those revelatory, close-study excursions come May 16 and 17. But before then, a birthday bash on an altogether larger scale: Joining Takehisa Kosugi in the BAM pit for "Nearly Ninety" will be Sonic Youth and Led Zeppelin bassist John Paul Jones. When Radiohead and Sigur Rós inhabited that spot in 2003, they tried their best to channel John Cage, something Sonic Youth has been doing for decades. BAM Howard Gilman Opera House, 30 Lafayette Avenue, Brooklyn, bam.org

Joe Goode Performance Group
April 23–26

The charismatic protagonist of the San Francisco choreographer's Wonderboy is a tender, hypersensitive soul, fashioned out of wood and cloth by master puppeteer Basil Twist. His outsider thoughts voiced in the words of Sam Shepard and Thom Gunn and his feelings floating on the backs of an exuberant cast, the boy braves the world and his own confusing desires in Goode's most guilelessly joyful and dancerly piece in years. Joyce Theater, 175 Eighth Avenue, joyce.org

Stephen Petronio Company
April 28–May 3

Of late, the most freshly exciting aspect of Petronio's work has been the scores he commissions. I Drink the Air Before Me boasts music by the young iconoclast Nico Muhly, sung by the Young People's Chorus of New York City. The excitement of the dance's theme—extreme weather—is standard fare for the choreographer, who returns to the stage for his company's 25th glamour-garbed by Cindy Sherman. Joyce Theater, 175 Eighth Avenue, joyce.org

Trisha Brown Dance Company
April 29–May 2

Dancers from the Paris Opera Ballet get a chance to show New York audiences the cool-bodied release and overlapping continuity they had to learn for Brown's 2004 commission O Zozony/O Composite. Dancers from the grande dame's own troupe, to whom such things are second nature, demonstrate how it's done in the 1979 classic Glacial Decoy and climb a wall in the 1968 Planes. BAM Howard Gilman Opera House, 30 Lafayette Avenue, Brooklyn, bam.org

Christopher Williams
May 12–16

Medieval-minded and more than a little medieval-looking, Williams builds cabinets of curiosities, strange and admirable. His relics, such as the 17 male saints he draws here from the pages of the 13th-century Golden Legend, aren't dry. Live early music helps, as do the puppets, the worth-the-price-of-admission costumes, and the multi-generational casting. But the principal animating force is Williams's imagination, a modern one movingly nourished by parts of the European past once central and now arcane. Dance Theater Workshop, 219 West 19th Street, dtw.org

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