'Fall for Dance'
September 22–October 3

Still offering an unsurpassed breadth of dance at 10 bucks a seat, City Center's annual sampler focuses its miscellany around a theme this time: the centenary of the Ballets Russes. Each of the five programs is punctuated with re-creations of works by Nijinsky, Nijinska, and Fokine, or re-imaginings, such as the wondrous Petrushka Suite of the puppeteer Basil Twist. Off-topic, the justly feted tanguero Gabriel Missé makes a debut, as does Savion Glover. City Center, 135 West 55th Street, nycitycenter.org

Douglas Dunn
October 1–3 and 8–10

A Bible of the feet? The Good Dance-dakar/brooklyn
Antoine Tempé
A Bible of the feet? The Good Dance-dakar/brooklyn


Earlier this year, the veteran dancemaker brought back a piece made fresh by long absence and topped it with a new one exercising his elegant intelligence in a less dated mode. That pattern might repeat itself with the revival of Sky Eye, a 1989 work combining Palestrina, Debussy, Ghanian drumming, and speaking in tongues, followed by the premiere of Cleave, which addresses the secularly spiritual space of St. Mark's Church accompanied by Bach. Danspace Project, 131 East 10th Street, danspaceproject.org

American Ballet Theatre
October 7–10

Spanning a single week and confined to Avery Fisher Hall, ABT's Fall Season is scaled back in every way except in living choreographic talent. Benjamin Millepied, a City Ballet dancer and promising craftsman, and Aszure Barton, a modern choreographer with a capaciously eccentric imagination, both offer premieres, as does the artist-in-residence, Alexei Ratmansky, the most consistently ravishing balletmaker now working. Avery Fisher Hall, Lincoln Center, 140 West 65th Street, abt.org

'Charlie's Angels'
October 22–24

When parts of this tap-dance homage to Charlie Parker premiered a few years back, the response of the great hoofer Jimmy Slyde was, "How dare you!" As in: "How dare you be so good!" In addition to tackling the saxophonist's breakneck tempos and subdivided beats himself, Jason Samuels Smith choreographs routines of fiendish difficulty for a trio of ladies—Chloe Arnold, Michelle Dorrance, and the incomparable Dormeshia Sumbry-Edwards—all able to handle the technical challenges while looking fine enough to evoke the Farrah Fawcett reference. The Kitchen, 512 West 19th Street, thekitchen.org

Armitage Gone! Dance
November 4–7

In the band Burkina Electric, a collaboration between Lukas Ligeti (son of György) and musicians from Burkina Faso, traditional rhythms become electronica and Europe meets Africa once again. That mash-up gets redoubled in Itutu, as the band interacts with the hyper-extended ballet of Karole Armitage. The onetime punk ballerina can be vitiatingly abstract, but it looks like this groove brings out her fun and sexy side. BAM Howard Gilman Opera House, 30 Lafayette Avenue, Brooklyn, bam.org

Bill T. Jones/arnie zane Dance Company
November 10–15

In recent years, the controversalist has grown understated—and twice as effective. He hasn't lost his earnestness or his ambition. As the first in a trio of works ruminating on Abraham Lincoln, Serenade/The Proposition is likely the messiest, a sketchbook crammed to the edges with ideas, text, and a live score. But some of those ideas are bound to be worth the mess. Joyce Theater, 175 Eighth Avenue, joyce.org

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