Yanira Castro
June 5–28
Mathew Pokoik
Shadowy types: Rindfleisch perform at last year's Mount Tremper Arts Festival.
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Summer is high season for site-specific. Dark Horse/Black Forest locates a raw, sensual duet in the lobby bathroom of the Gershwin Hotel. Seven lucky audience members watch from inside the facilities, aided by mirrors; anyone else can tune in from a guest room via closed-circuit TV. The strength of the alternating casts (Heather Olson with Joseph Poulson, Luke Miller with Darrin Wright) tempts one to attend twice. Having conquered lavatories in Romania and Latvia, Castro pledges to adapt the piece to any bathroom—yours, if you hire her. Gershwin Hotel, 7 East 27th Street, ps122.org
Rebecca Stenn/Ben Munisteri
June 11–14
In a risky twist on the shared evening, two accomplished choreographers—she a poet of gesture, of Momix born; he a cool ballet-modern pattern-weaver—remix each other's creations, then swap again and remix the remixes. Casting, sequence, music, costumes—everything's on the table, save the addition of new movement. Pity the dancers who have to keep it all straight. Joyce Soho, 155 Mercer Street, joyce.org
Kate Weare Company
June 25–27
As audiences at Jacob's Pillow discovered last summer, Bridge of Sighs is no escape from the heat. The two swapping couples slap and tussle with the passion of a disheveled tango. It's erotic and alarming and physically committed, qualities too rare in downtown dance but not in Weare's art. Her new Lean-to completes the program. St. Mark's Church, 131 East 10th Street, danspaceproject.org
Lucinda Childs
July 9–12
Revered in Europe, the work of the postmodern pioneer—minimalism that grew complex by accumulation—is rarely seen near her hometown. This summer's revival at Bard of her 1979 Dance is historic in two senses: It exhumes a blossoming, her first attempt to display her company on an opera house stage, responding to her first commissioned score (by Philip Glass). And the salient visual element—Sol LeWitt's film of the dance projected on a scrim in front of the dancers—now functions as a dialogue with a distant past. Fisher Center, Bard College, Annandale-on-Hudson, fishercenter.bard.edu
Emanuel Gat Dance
July 14–17
The Israeli choreographer made a name for himself by tweaking canonical scores like The Rite of Spring and Mozart's Requiem, an attention-grabbing gambit that quickly turned limiting. So it's good news that he's returning to the Lincoln Center Festival with Silent Ballet, which relies almost solely on the sounds made by dancing it. Winter Variations is a kind of sequel to Winter Journey, the duet for his imposing self and a near-twin that showed the most promise last time. Rose Theater, Broadway at 60th Street, lincolncenter.org
Mark Morris Dance Group
August 19–22
Mozart Dances, the music man's previous commission for the Mostly Mozart Festival, gloriously rose to the challenge of three of the composer's big piano pieces. Set to an Ives trio and a Beethoven sonata, Morris's new Empire Garden and Visitation address challenges different in scale but perhaps not in difficulty. Emmanuel Ax and Yo-Yo Ma provide world-class assistance. Rose Theater, Broadway at 60th Street, lincolncenter.org
