Summer Guide: Pichet Klunchun Is the Bangkok Rebel

The dancer-choreographer brings his tradition-challenging work to NYC

John Jasperse Company
June 16–19

At BAM in 2007, Jasperse's aesthetic was ascetic, all found objects and talk about shrinking budgets. But Truth, Revised Histories, Wishful Thinking, and Flat Out Lies is fancy. There's floral wallpaper, a string quartet, and about as many glamorous costume changes as there are words in the title. It's a cheeky piece, too, in which flexed buttocks and awkward boogieing form motifs, and the choreographer performs seedy magic tricks both literal and figurative. Joyce Theater, 175 Eighth Avenue,

Ronald K. Brown/Evidence
June 17–20

Returning from a State Department–sponsored tour of Africa—what more righteous representative of African-infused American dance could we have sent?—Brown's Evidence plays a 25th-anniversary gig in Harlem. The occasion prompts no new pieces, but novelty is never Brown's draw. Almost every dance is the same, a prayer so kinetically inspiring, so jubilant, that even the secular can't resist it. Gatehouse at Harlem Stage, 150 Convent Avenue,

Savion Glover
June 21–July 10

The tap master doesn't need a concept to book the Joyce for a few weeks, though he'll probably provide one eventually. Recent shows have hung on the hooks of guest artists, the results ranging from cogent (a solo gospel singer) to ill-conceived (an amateur ballerina) to under-developed (flamenco dancers and musicians). No matter. The attraction is Glover: his effortless virtuosity and unfailing groove at the service of artistry at once severe and ecstatic. Joyce Theater, 175 Eighth Avenue,

Emmanuele Phuon
June 24–26

Before moving out of Cambodia and on to ballet and jazz, before growing into a standout performer for Ailey, Elisa Monte, and Baryshnikov's White Oak, the French-Cambodian choreographer studied Khmer dance. Recently, she has returned to the courtly form, seeking to rouse it with contemporary techniques and contexts. Khmeropédies I and II present the results of her experimentation on four Khmer adepts. Baryshnikov Arts Center, 450 West 37th Street,

Saburo Teshigawara
July 9–11

Teshigawara is as much an installation artist as a dancer or choreographer, but the production values of his solo Miroku are notably sparer than those of the last work he brought to New York, in 2006. The Japanese iconoclast encloses himself within three high walls, beset by extremes of lighting—blinding whites, aquarium blues, a naked bulb. Although he's a distinctive mover, whose articulations can resemble popping and locking, the evening stands or falls on a viewer's sensitivity to Teshigawara's subtly shifting inner states. Rose Theater, Broadway at 60th Street,

Mark Morris Dance Group
August 5–7

It's been five years since New Yorkers last had a chance to bask in the pastoral bliss of Morris's 1988 L'Allegro, il Penseroso ed il Moderato. Milton's words, Handel's score, Morris's exuberant invention, large and hopeful and warm—if it's not the finest dance the choreographer has made (that's subject to debate), it remains the easiest to love. David H. Koch Theater, Lincoln Center,

« Previous Page