Soundcheck/Roxane Butterfly

April 14–18

The middle of April sees some unseasonable activity in the tap scene. At DTW, the American Tap Dance Foundation continues its attempt to break out of the summer festival format, admirable even if a rehearsal hall concept turns out to be a sneaky retreat to variety show. That same weekend at Symphony Space, Roxane Butterfly pays tribute to her late mentor, Jimmy Slyde, screening rare footage of the master at work and laying down grooves with Tamango and other disciples. Dance Theater Workshop, 219 West 19th Street,; Symphony Space, Broadway at 95th Street,

Pushing alittle too far . . .
Christy Pessagno
Pushing alittle too far . . .

Maria Hassabi/Robert Steijn

April 15–17

The January and February installments of Ralph Lemon's stint as guest curator for Danspace Project were revelatory. Now he's responsible for the unlikely pairing of Maria Hassabi, whose installation-like work is made of solos even when multiple people are involved, and Robert Steijn, an Amsterdam-based critic turned performer fond of staging his own death. The subject of their duet is love. Don't expect a pas de deux. 131 East 10th Street,

Stephen Petronio Company

April 27–May 2

Petronio has always had an ear for what's fashionable but not merely so. Take the score for his new Ghostown. It's "Popcorn Superhet Receiver" by Radiohead guitarist Jonny Greenwood, an exceedingly rare example of a rock star working convincingly in a mode derived from Messiaen and Penderecki. What fractured visions the choreographer can summon out of the wailing strings and massed chords, portions of which haunted the film There Will Be Blood, remain to be seen. Joyce Theater, 175 Eighth Avenue,

Luciana Achugar

April 29–May 2

Invariably described as raw, primal, or unmediated, the recent dances of the Uruguayan-born choreographer, each outfitting its female cast in identical worker's uniforms, each repeating simple movements, haven't shied away from leftist political implications. Puro Deseo, the title of her latest creation, plays on the twin senses of "pure desire" and "nothing more than desire," questioning the connections between artistic process and the commodification of art. The Kitchen, 512 West 19th Street,

New York City Ballet

May 2–June 27

May brings a cache of high-profile premieres. Alexei Ratmansky, who reliably delivers enchantment as his colleagues fumble, tackles Édouard Lalo's 1882 Casanova-inspired Namouna. Wayne McGregor, the Royal Ballet's resident choreographer and ballet outsider, makes his first ballet for NYCB, to Thomas Adès's Concentric Paths. And Christopher Wheeldon, who recently parted ways with his company Morphoses, exhumes Alberto Ginastera's Estancia, a lively score that Lincoln Kirstein commissioned for Ballet Caravan before that company folded. David H. Koch Theater, Lincoln Center,

Pam Tanowitz Dance

May 20–22

Long admired for her manner of pulling apart ballet and Cunningham technique to put it back together, Tanowitz has lately discovered a new ease. Her compositions, always woven with care, now breathe more freely; the details read as more generous than studied. For The Wanderer Fantasy, she draws on Schubert's Fantasie in C major, played live by the pianist Alan Feinberg. Danspace Project, 131 East 10th Street,

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