Broadway
‘EVERY BRILLIANT THING’ Daniel Radcliffe, who made his Broadway debut in “Equus” during his “Harry Potter” era, is perfectly at home on the stage. But with this life-affirming play, which enumerates the many beauties of the world, he takes on a less familiar challenge: a solo show — with (optional) audience participation. Written by Duncan Macmillan with Jonny Donahoe, it’s directed by Jeremy Herrin and Macmillan. Feb. 21-May 24, Hudson Theater. (All theater listings by LAURA COLLINS-HUGHES)
‘DEATH OF A SALESMAN’ Arthur Miller’s classic makes its third return to Broadway so far this century. Nathan Lane stars as Willy Loman, a traveling salesman whose career is on the skids and whose mind is plagued by suicidal thoughts, opposite Laurie Metcalf as Linda Loman, Willy’s wife and the guardian of his flagging dignity. Christopher Abbott and Ben Ahlers play their sons, Biff and Happy. Joe Mantello directs. March 6-June 14, Winter Garden Theater.
‘DOG DAY AFTERNOON’ New York’s grit and eccentricity have always been fodder for the Pulitzer Prize winner Stephen Adly Guirgis (“Between Riverside and Crazy”), whose artistic vision of the city balances violence with haplessness, absurdity with danger — all qualities of Sidney Lumet’s 1975 movie about a Brooklyn bank robbery. In Guirgis’s new adaptation of the film, two actors from the Emmy Awards darling “The Bear” lead the cast: Jon Bernthal as Sonny, the Al Pacino role, and Ebon Moss-Bachrach as Sal. Rupert Goold directs. March 10-July 12, August Wilson Theater.
‘GIANT’ John Lithgow plays the children’s author Roald Dahl in this biodrama by Mark Rosenblatt, set at a moment of crisis in 1983 as Dahl is accused of antisemitism, and his publishers act to contain the damage. Last year in London, Lithgow won an Olivier Award for his performance in this production. Directed by Nicholas Hytner, the show won best play. March 11-June 28, Music Box Theater.
‘BECKY SHAW’ Madeline Brewer (“The Handmaid’s Tale”) plays the title role in this relationship comedy by Gina Gionfriddo (“After Ashley”) about a first date — set up by matchmaking newlyweds (Lauren Patten and Patrick Ball) — that goes outrageously awry. Alden Ehrenreich and Linda Emond round out the cast, directed by Trip Cullman. March 18-June 14, Helen Hayes Theater.
‘CATS: THE JELLICLE BALL’ Starring André De Shields as Old Deuteronomy, this radical reinvention of Andrew Lloyd Webber’s musical has moved uptown after an Obie Award-winning run in 2024 at the Perelman Performing Arts Center. Directed by Zhailon Levingston and Bill Rauch, and choreographed by Omari Wiles and Arturo Lyons, this production places the action in the queer ballroom subculture, where dance dominates. Starts March 18, Broadhurst Theater.
‘THE FEAR OF 13’ Adrien Brody, who headlined this drama in 2024 in London, reprises his role in a new production, portraying a longtime death-row inmate who insists on his innocence. Written by Lindsey Ferrentino and directed by David Cromer, the play is based on the 2015 David Sington documentary of the same name. Tessa Thompson (“Hedda”) also stars. March 19-July 12, James Earl Jones Theater.
‘THE ROCKY HORROR SHOW’ Luke Evans plays Frank-N-Furter, the sexually voracious, extraterrestrial mad scientist, in this revival of Richard O’Brien’s queer musical from 1973, which spawned the cult film. Sam Pinkleton, a Tony Award winner for “Oh, Mary!,” directs a cast that includes Andrew Durand as Brad, Stephanie Hsu as Janet, Amber Gray as Riff Raff, Juliette Lewis as Magenta, Michaela Jaé Rodriguez as Columbia, Josh Rivera as Rocky, Rachel Dratch as the Narrator and Harvey Guillén as Eddie and Dr. Scott. March 26-June 21, Studio 54.
‘TITANíQUE’ After a few years floating along merrily downtown, this jukebox-musical parody of James Cameron’s “Titanic” docks on Broadway, buoyed by the songs of Celine Dion, who — in fictional, fantastical form — is also the narrator. Marla Mindelle stars as Dion alongside Jim Parsons, Deborah Cox, Frankie Grande and Constantine Rousouli. Tye Blue, who wrote the show with Mindelle and Rousouli, directs; Ellenore Scott choreographs. March 26-July 12, St. James Theater.
‘BEACHES’ The Bette Midler-Barbara Hershey movie about a pair of lifelong friends — a scrappy one, who becomes a singer, and a wealthy one, who becomes a single parent — was a tear-jerking hit in 1988. This new musical, starring Jessica Vosk and Kelli Barrett, is based, like the film, on Iris Rainer Dart’s novel of the same name. Directed by Lonny Price and Matt Cowart, it has music by Mike Stoller, lyrics by Dart and a book by Dart and Thom Thomas. March 27-Sept. 6, Majestic Theater.
‘FALLEN ANGELS’ With this Noël Coward bagatelle from 1925, Rose Byrne and Kelli O’Hara go in for comic revelry, playing married women with a onetime paramour (Mark Consuelos) in common — and he happens to be in town. Over copious drinks, they await him while their husbands (Christopher Fitzgerald and Aasif Mandvi) are away. Scott Ellis directs a cast that also includes Tracee Chimo. Glamour alert: The set is by David Rockwell. March 27-June 7, Todd Haimes Theater.
‘THE LOST BOYS’ Joel Schumacher’s 1987 big-screen horror comedy about the beach-boardwalk town with the teen vampire problem has morphed into a musical, starring Shoshana Bean (“Hell’s Kitchen”) in the Dianne Wiest role of the mom who’s newly arrived there with her adolescent boys. With music and lyrics by the Rescues and a book by David Hornsby and Chris Hoch, it’s directed by Michael Arden, a Tony winner for “Maybe Happy Ending.” Starts March 27, Palace Theater.
‘JOE TURNER’S COME AND GONE’ The play that is often called the best of the 10 in August Wilson’s American Century Cycle gets a revival, directed by Debbie Allen and starring Taraji P. Henson and Cedric the Entertainer as Bertha and Seth, running a Pittsburgh boardinghouse in 1911. Among the many who pass through are the old man Bynum Walker (Ruben Santiago-Hudson) and the young man Herald Loomis (Joshua Boone), who is searching for his wife after years of being illegally held captive on a bounty hunter’s chain gang. March 30-July 12, Barrymore Theater.
‘THE BALUSTERS’ This new David Lindsay-Abaire comedy is named after an architectural detail — exactly the sort of thing that persnickety neighborhood associations tend to argue about. But a proposed stop sign is the real catalyst for acrimony in this play, which stars Lindsay-Abaire’s longtime co-conspirator Marylouise Burke alongside Anika Noni Rose, Carl Clemons-Hopkins, Margaret Colin and Richard Thomas. Kenny Leon directs the world premiere for Manhattan Theater Club. March 31-May 24, Samuel J. Friedman Theater.
‘PROOF’ Ayo Edebiri, known for her performance as chef Sydney on “The Bear,” makes her Broadway debut as Catherine, the grieving daughter of a mathematician (Don Cheadle) whose brilliant mind gave way to disorder during his later years. In Thomas Kail’s revival of David Auburn’s Pulitzer-winning drama, Jin Ha plays Hal, a former student of Catherine’s father, and Samira Wiley plays Claire, her more practical sister. March 31-July 19, Booth Theater.
‘SCHMIGADOON!’ If ever a TV show cried out for a stage incarnation, it was Cinco Paul and Ken Daurio’s musical comedy series, which lasted for just two sweet, spoofing seasons. In Paul’s adaptation, Alex Brightman and Sara Chase star as Josh and Melissa, a contemporary couple who tumble into an alternate world, where people uncannily similar to characters from Golden Age musicals keep breaking into song and dance. Ann Harada reprises her TV role as Florence Menlove, with Brad Oscar as Mayor Menlove and Ana Gasteyer as the moral scourge Mildred Layton. Christopher Gattelli, who choreographed for the series, directs and choreographs. April 4-Sept. 6, Nederlander Theater.
Off Broadway
‘WHAT WE DID BEFORE OUR MOTH DAYS’ Autobiography echoes in this new play by Wallace Shawn, whose father, the New Yorker magazine editor William Shawn, had a decades-long extramarital relationship with the journalist Lillian Ross — as the world learned when Ross wrote a memoir about it, after his death but before his wife’s. Wallace Shawn’s old pal André Gregory (“My Dinner With André”) directs Hope Davis, Maria Dizzia, John Early and Josh Hamilton in this story of a son, his parents and the other woman. Through April 26, Greenwich House Theater.
‘BIGFOOT!’ The mythical title character of this new musical comedy by Amber Ruffin, Kevin Sciretta and David Schmoll is 8 feet tall, furry and played by Grey Henson, who excelled, ebulliently, in the title role of “Elf the Musical.” With a plot involving corrupt politicos, and Crystal Lucas-Perry and Alex Moffat among the cast, Danny Mefford directs and choreographs. Through April 26, New York City Center Stage I.
‘NIGHT SIDE SONGS’ The brothers Daniel and Patrick Lazour borrowed the title of their folky new musical from a quotation attributed to Susan Sontag: “Illness is the night side of life.” Reteaming with Taibi Magar, who directed their show “We Live in Cairo,” they examine the healing power of song through a Lincoln Center Theater cast that includes Mary Testa. Through March 29, Claire Tow Theater.
‘COLD WAR CHOIR PRACTICE’ A 10-year-old named Meek is the protagonist of Ro Reddick’s intrigue-filled play with music, set in upstate New York, where Meek’s ex-Black Panther dad runs a roller rink and she worries about nuclear annihilation. A downtown standout last summer, it returns with most of its original cast, including Alana Raquel Bowers, Will Cobbs, Lizan Mitchell and, in the choir, Grace McLean, Suzzy Roche and Nina Ross. Knud Adams directs for MCC Theater, Clubbed Thumb and Page 73. Feb. 21-March 29, MCC Theater.
‘BUGHOUSE’ Inspired by the work of the prolific outsider artist Henry Darger, a Chicago janitor who died in 1973, Martha Clarke — creator of the thrilling Hieronymus Bosch adaptation “Garden of Earthly Delights” — conceived and directs this new piece. It has text adapted from Darger’s writing by the Pulitzer winner Beth Henley and stars the performance artist John Kelly. Feb. 24-March 29, Vineyard Theater.
‘MY JOY IS HEAVY’ Autobiography is the stuff of music theater for the married duo Abigail and Shaun Bengson, whose pregnancy loss during the industry’s pandemic shutdown was a catalyst for this new show, directed by Rachel Chavkin. Feb. 25-April 5, New York Theater Workshop.
‘ANTIGONE (THIS PLAY I READ IN HIGH SCHOOL)’ The Off Broadway ace Susannah Perkins plays the title role in Anna Ziegler’s take on Sophocles’ classic tragedy, reshaped to foreground a woman’s right to bodily autonomy. With Tony Shalhoub as Creon, Calvin Leon Smith as Haemon and Celia Keenan-Bolger as the Chorus, Tyne Rafaeli directs the world premiere. Feb. 26-March 22, Public Theater.
‘ULSTER AMERICAN’ On the Irish Rep stage, Matthew Broderick is something close to a regular. This time around, in a satire by David Ireland, he plays Jay Conway, a wildly inappropriate, impressively ignorant American movie star, set to perform in a London play whose premise he has misconstrued. Max Baker and Geraldine Hughes portray his colleagues, an English director and a Northern Irish playwright, in this production by Ciaran O’Reilly. March 6-May 10, Irish Repertory Theater.
‘TRASH’ This comedy about deaf, odd-couple roommates casts its authors as co-stars: James Caverly, best known for playing Theo Dimas, son to Nathan Lane’s Teddy, on the Hulu series “Only Murders in the Building,” and Andrew Morrill, who won an Obie as director of artistic sign language on the play “Dark Disabled Stories.” Performed mainly in American Sign Language, with open captioning. Nathaniel P. Claridad directs for Out of the Box Theatrics. March 7-28, Perelman Performing Arts Center.
‘MONTE CRISTO’ Starring Adam Jacobs (“The Who’s Tommy”) as Edmund opposite Sierra Boggess as Mercedes, and with Norm Lewis and Karen Ziemba among the cast, Peter Kellogg and Stephen Weiner’s adaptation of Alexandre Dumas’s classic adventure novel makes its world premiere. Peter Flynn directs for the York Theater. March 12-April 5, Theater at St. Jean’s.
‘TITUS ANDRONICUS’ Even for Shakespeare, who had no qualms about ending his plays with loads of dead bodies on the stage, this revenge tragedy is gruesomely violent. Patrick Page, an expert at blood-chilling terror, plays the titular Roman general in this Red Bull Theater production, directed by Jesse Berger. March 17-April 19, Pershing Square Signature Center.
‘NO SINGING IN THE NAVY’ Milo Cramer’s new musical comedy keeps things simple with its tale of sailors on 24-hour leave: three actors, one piano and one critically minded sendup of classic musicals. Aysan Celik directs. March 18-April 19, Playwrights Horizons.
‘THE WILD PARTY’ An intriguing idea, a sparkly cast, a disappointing Broadway run — Michael John LaChiusa and George C. Wolfe’s 1920s-decadence, jazz-and-vaudeville musical had all of those back in 2000, when it was new. But taking another look is what New York City Center Encores! is all about. Jasmine Amy Rogers, Adrienne Warren, Claybourne Elder, Jelani Alladin, Jordan Donica and Tonya Pinkins — a star of the original production — are among the cast of this revival, directed by Lili-Anne Brown. March 18-29, New York City Center.
‘SEAGULL: TRUE STORY’ Autobiography meets Chekhov meets global events in this politically incandescent, experimental satire, written by Eli Rarey and created and directed by Alexander Molochnikov, which returns in a Mart Foundation production after a brief, hot-ticket run last year at La MaMa. March 22-April 26, Public Theater.
‘THE ADDING MACHINE’ In a thoughtful letter to “the Dramatic Editor” of The Times in 1923, Elmer L. Rice argued against describing his latest play as expressionistic. Unpretentiously, he called it “an honest piece of work”: the tale of Mr. Zero, an everyman accountant who turns homicidal when his job is assigned to a machine. For Scott Elliott’s New Group revival, a human, Thomas Bradshaw, has revised Rice’s script. Sarita Choudhury, Michael Cyril Creighton, Daphne Rubin-Vega and Jennifer Tilly make up the cast. March 24-May 10, Theater at St. Clement’s.
‘KENREX’ A rural thug in 20th-century Missouri menaces his small town into a yearslong state of fearful acquiescence in this true-crime show about Ken Rex McElroy and how he got away with his lawlessness until he violently, mysteriously didn’t. Jack Holden, who portrays the play’s many onstage characters, wrote this London import with Ed Stambollouian, who directs. April 15-June 27, Lucille Lortel Theater.
‘HAMLET’ Utterly charming in the title role of “Life of Pi” on Broadway, Hiran Abeysekera plays the Prince of Denmark in this fast-paced, comedy-infused staging by Robert Hastie (“Operation Mincemeat”) for London’s National Theater. The run is part of the Brooklyn Academy of Music’s new multiyear partnership with the National. April 19-May 17, Harvey Theater.
‘MOBY DICK’ The work of the visionary director-designer Robert Wilson, who died last summer, belongs to a venerable tradition of bold, visually stunning avant-garde theater at the Brooklyn Academy of Music. His 2024 Düsseldorfer Schauspielhaus adaptation of Herman Melville’s novel, with music by the singer-songwriter Anna Calvi, continues that lineage. April 29-May 3, Howard Gilman Opera House.
‘GIRL, INTERRUPTED’ The poets Sylvia Plath, Robert Lowell and Anne Sexton were all psychiatric patients at McLean Hospital, in Massachusetts. So, as a teenager, was Susanna Kaysen, whose 1993 best-selling memoir of her time there was adapted into a 1999 Winona Ryder movie. Now the Pulitzer winner Martyna Majok and the singer-songwriter Aimee Mann have remade the memoir into a play with music. Jo Bonney directs the world premiere. May 13-June 21, Public Theater.
‘I’M ALMOST THERE’ Comic-melancholic, surreal and almost solo, this “Odyssey”-inspired musical by Todd Almond had a blink-and-you-miss-it downtown run in 2024. Here’s another chance. David Cromer directs. June 9-28, BAM Fisher.
‘LA CAGE AUX FOLLES’ Billy Porter stars as the drag artist Albin opposite Wayne Brady as his longtime partner, the club impresario Georges, in this 1983 musical comedy about the collision of worlds that follows when their son, about to marry into a right-wing family, invites his future in-laws over. With a book by Harvey Fierstein and a score by Jerry Herman, Robert O’Hara (“Slave Play”) directs an all-Black cast for Encores! June 17-28, New York City Center.
Pop, Hip-Hop and Beyond
CARDI B Cardi B gets credit for being a reliably fascinating public figure — she has a refreshingly unobstructed pathway between her heart and mind and the tools of communication she uses to share their contents with the world. But she doesn’t always get the same credit for being a reliably fascinating rapper. In September, she released “Am I the Drama?,” which is somehow only her second full-length studio album. The record fits neatly alongside her first, clearly marking her as a part of New York hip-hop tradition, a smack-talking realist who raps in jabs, hooks and uppercuts. The Little Miss Drama Tour will be her first road show in several years. March 25-26 at Madison Square Garden in Manhattan; March 28 at Prudential Center in Newark. (JON CARAMANICA)
ONEOHTRIX POINT NEVER Fresh off his should-have-been-Oscar-nominated score for “Marty Supreme,” Daniel Lopatin — the electronic composer who goes by Oneohtrix Point Never — will bring immersive soundscapes and digital nostalgia to the cavernous Pioneer Works. It’s a two-date stop on a tour supporting his bewitching 2025 album, “Tranquilizer,” a dense aural collage built largely from an old sample library that Lopatin found on the Internet Archive and fashioned into strangely hypnotic compositions that are at once proudly synthetic and eerily alive. His performances tend to be multimedia events, and these will feature visuals by the experimental artist Freeka Tet, who specializes in a kind of digital-era surrealism. April 29-30 at Pioneer Works, Red Hook, Brooklyn. (LINDSAY ZOLADZ)
WAXAHATCHEE and MJ LENDERMAN The reigning king and queen of lyrically incisive, country-tinged indie-rock, Katie Crutchfield and MJ Lenderman, will embark on a co-headlining tour on which they will be performing both “solo and together.” Crutchfield, of Waxahatchee, is the seasoned veteran here, having released an excellent string of increasingly accomplished and searingly introspective albums over the past decade and change, while Lenderman is the upstart, still in the afterglow of his wonderfully wry 2024 breakout LP, “Manning Fireworks.” Their distinct styles complement each other well on the Waxahatchee number “Right Back to It,” which is a safe bet for the “together” portion of the show. April 19 at Brooklyn Paramount and April 20 at Beacon Theater. (ZOLADZ)
DILJIT DOSANJH The Indian musician and actor Diljit Dosanjh has become, in recent years, the most notable global ambassador for Punjabi music. He was the first of the genre to perform at Coachella, the first to appear on “The Tonight Show Starring Jimmy Fallon,” the first to walk the carpet at the Met Gala. And that instinct for outreach has led him toward increased musical experimentation. His more recent albums, like “G.O.A.T” and “Aura,” are more fluid with style, with nods to hip-hop. And he’s collaborated with Ed Sheeran, J Balvin, Sia, NLE Choppa and more. These are his first ever shows in New York City proper. May 24-25 at Madison Square Garden. (CARAMANICA)
Classical
AMERICAN MODERN OPERA COMPANY This shape-shifting ensemble has become one of the most reliable laboratories for the reinvention of contemporary vocal music. In a series of intimate events this spring, it turns its focus to chamber music, including works that blend storytelling and sonic experimentation. The opening program, on Feb. 28, features a new song cycle by Matthew Aucoin, whose keen instinct for incisive texts made his recent “Eurydice” at the Met a gripping retelling of the myth. New works for strings take center stage on March 19; “On the Hinge of Modernity” (April 2) places works by the early 17th-century Venetian composer Dario Castello alongside pieces by the 20th-century modernist Luciano Berio, investigating links between radical innovators working centuries apart. Events on Feb. 28, March 19 and April 2 at the David Rubenstein Atrium, Lincoln Center. (All classical listings by CORINNA da FONSECA-WOLLHEIM)
BACH’S ST. MATTHEW PASSION Space becomes an actor in this dramatic rendition of Bach’s Passion in the soaring Cathedral of St. John the Divine. With choirs and orchestras deployed throughout the vast Gothic interior, the performance turns Bach’s double-choir design into a surround-sound experience. Kent Tritle conducts the Cathedral Choirs and Orchestra and assembles a cast of operatic luminaries, including Paul Appleby (as the Evangelist) and his fellow tenor Joshua Blue. In the reverberant acoustics, Bach’s moving communal meditation floods the listener’s senses from all sides. March 8 at the Cathedral of St. John the Divine, Manhattan.
TRISTAN UND ISOLDE Wagner’s intoxicating meditation on self-obliterating love returns to the Met in a new production by the visionary director Yuval Sharon. The Norwegian soprano Lise Davidsen, one of the most formidable dramatic voices of her generation, takes on Isolde for the first time in New York after getting rave reviews for the role in Spain. The magisterial heldentenor Michael Spyres sings Tristan; the Met’s music director, Yannick Nézet-Séguin, conducts the score for the first time at the company. Prepare for a long night of transporting music. March 9-April 2 at the Metropolitan Opera, Lincoln Center.
THE NEW YORK PHILHARMONIC As he prepares to take the reins next season, Gustavo Dudamel offers a glimpse of his civic vision for this orchestra in a program pairing Beethoven’s revolutionary “Eroica” with a newly orchestrated version of Frederic Rzewski’s dazzling variations on the Chilean protest song “The People United Will Never Be Defeated” — a characteristically coded political statement from a diplomatically guarded conductor. Later in the spring, the soprano-conductor Barbara Hannigan sings and leads Francis Poulenc’s harrowing one-woman monodrama “La Voix Humaine.” What might sound like a multitasking stunt becomes, in Hannigan’s hands, a psychologically compelling fusion of voice and gesture. March 12-15 (Dudamel) and April 24-25 (Hannigan) at David Geffen Hall, Lincoln Center.
YUNCHAN LIM Since winning the Van Cliburn International Piano Competition at 18 in 2022, Yunchan Lim has inspired pop-music levels of fandom. His technical command of the Romantic warhorses is beyond doubt, while his recent interpretation of Bach’s “Goldberg Variations” revealed a thoughtful inward streak. This Carnegie Hall recital returns him to the 19th century, with pieces by Schubert, Chopin and Schumann of intense emotional concentration. For those lucky enough to get a ticket, it’s not only an opportunity to hear the reclusive YouTube star in person, but a chance to see the artistic identity of a generational talent beginning to crystallize. April 24 at Stern Auditorium, Carnegie Hall, Manhattan.
Dance
TILER PECK The spring season at New York City Ballet includes its second premiere by Peck, a charismatic principal dancer. And she is, as they say, going for it. Set to Lalo’s “Symphonie Espagnole,” the follow-up to her effervescent “Concerto for Two Pianos” (2024) is a large-scale company work for more than 30 dancers. Music matters to Peck: Appearing with the New York City Ballet Orchestra are Hilary Hahn and Tai Murray, who alternate as solo violinist. Her ballet, with costumes by Robert Perdziola and lighting by Brandon Stirling Baker, will have its premiere at the company’s spring gala on May 7. In repertory, May 7-28 at the David H. Koch Theater, Lincoln Center. (GIA KOURLAS)
JADE MANNS A founder of the artist-run performance space Pageant, Manns is steadily building a reputation as a formidable choreographer with a keen eye for structure and for dances that, despite their tight constraints, are full of mystery. In her new work, a yet-untitled trio for the riveting up-and-comers Kalliope Piersol, Noa Rui-Piin Weiss and Maxi Hawkeye Canion with sound by Derek Baron, she aims to shake up her choreographic patterns in order to find a sense of montage. Every detail will be accounted for. May 14-16 at Pageant, Brooklyn. (KOURLAS)
GRAHAM100 “The center of the stage is where I am,” Martha Graham once said, and it’s a sentiment that remains true in many ways. This year, the Martha Graham Dance Company celebrates its 100th anniversary — its first performance was April 18, 1926 — with a slew of events including a season at New York City Center (April 8-12); a two-part documentary on PBS, “Martha Graham Dance Company: We Are Our Time” (March 27 and April 3); and a major exhibition, “Martha Graham: The Mother of Psychological Dance” (May 20-Nov. 7), at the New York Public Library for the Performing Arts at Lincoln Center, curated by the choreographer and writer Jack Ferver. One hundred years later, we still bow down. (KOURLAS)
MARK MORRIS DANCE GROUP The subject of Mark Morris’s “Moon” is the orb’s permanent grip on the human imagination. The music alternates between the alien strangeness of Ligeti and the American Songbook of “Blue Moon,” interspersed with sounds from the Golden Record sent into space with the Voyager spacecraft in 1977. A New York premiere, “Moon” shares a program with another dance new to the city: “Via Dolorosa,” in which Morris depicts the stations of the cross to a harp score by Nico Muhly. March 26-29 at the Brooklyn Academy of Music. (BRIAN SEIBERT)
DANCE THEATER OF HARLEM In its 1980s heyday, Dance Theater of Harlem was best known for its renditions of ballets by George Balanchine and for transposed classics, like a “Giselle” set in Louisiana. High in the second category was its 1982 version of “Firebird,” which took the outlines of a Russian fairy tale and the spectacular score that Stravinsky composed for the Ballets Russes and relocated them into a world of orchids and vines designed by Geoffrey Holder. Audiences went wild for it. When the company slimmed down in hard times, “Firebird” disappeared. Now, after an absence of more than 20 years, it returns, with the score performed live. April 16-19 at New York City Center. (SEIBERT)
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