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    Critic’s picks: Dance

    Members of BodyTraffic performing “o2Joy,” which melds ballet with hip-hop.
    Christopher Duggan
    Members of BodyTraffic performing “o2Joy,” which melds ballet with hip-hop.

    BODYTRAFFIC Founded in 2007 by Lillian Rose Barbeito and Tina Finkelman Berkett, this contemporary-dance company from Los Angeles has performed at Jacob’s Pillow and was named as one of Dance Magazine’s “25 to Watch” for 2013. World Music/CRASHarts brings it to town with a trio of works. Sidra Bell’s “Beyond the Edge of the Frame” is a punk ballet in the William Forsythe mold. MacArthur Fellow Kyle Abraham’s “Kollide,” whose premiere BodyTraffic presented last October, is set to music from Icelanders Hildur Gudnadóttir and Valgeir Sigurdsson. And Richard Siegal’s “o2Joy” melds ballet with hip-hop to the music of Ella Fitzgerald, Billie Holiday, Glenn Miller, and the Oscar Peterson Trio. April 11-12. $40. Institute of Contemporary Art. 617-876-4275,

    LIMITLESS Highlighting Boston Conservatory’s spring dance offering is Mark Morris’s 1982 “Canonic 3/4 Studies,” whose title started out as “Canonic Waltz Studies” and then changed when Morris found that not all the three-quarter-time piano pieces he wanted to use — works by Czerny, Glière, Lack, and Moszkowski — were waltzes. Also on the bill: Karole Armitage’s “Rave,” which her company presented at the Institute of Contemporary Art last October, with the help of 19 Boston Conservatory students, and works by Prometheus Dance’s Tommy Neblett and Complexions Dance Company artistic director Dwight Rhoden. April 16-19. $25-$30. Boston Conservatory Theater. 617-912-9222,

    JOSÉ MATEO BALLET THEATRE The program “New Eruptions” offers a work that’s brand new and one that’s relatively new. “Taking Turns” (2012) is set to Philip Glass’s String Quartet No. 4 (1989), which was commissioned in memory of an artist, Brian Buczak, who died of AIDS. In the dance’s moving finale, a woman lays a bouquet of white chrysanthemums on the floor. The other work is a Mateo premiere. April 25–May 11. $40. Sanctuary Theatre, Cambridge. 617-354-7467,


    ALVIN AILEY AMERICAN DANCE THEATER It’s always intriguing to see a modern-dance company and a ballet company perform the same work. Boston Ballet did Wayne McGregor’s “Chroma” last season (and will do it again in 2014-15), and next month it’s part of Alvin Ailey American Dance Theater’s opening-night bill. Rounding out that program are Part 1 of Bill T. Jones’s “D-Man in the Waters,” a tribute to AIDS-afflicted dancer Demian Acquavella, set to the Mendelssohn Octet, and the Boston premiere of Aszure Barton’s “Lift,” which Barton created on the Ailey dancers. The second program offers an Ailey quartet: three pieces, “Night Creature,” “Pas de Duke,” and “The River,” set to music by Duke Ellington, plus Ailey’s ever-popular “Revelations.” May 1-4. $20-$90. Citi Wang Theatre. 617-482-6661,

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    URBANITY DANCE Fresh off dancing to Bach and Stravinsky with local string ensemble A Far Cry in January, Urbanity serves up its annual spring revue, this year titled “<3 > Hate” and including Urbanity director Betsi Graves’s “:),” Keigwin + Company dancer Jaclyn Walsh’s “(R)evolve,” Chantal Doucette’s “#20likes,” and works by Urbanity dancers Emily Mayer and Kate Cook. May 2-3. $25-$50. Boston University Dance Theater. 617-572-3727,

    BOSTON BALLET’S PRICKED Boston Ballet’s European-themed spring repertory program includes a pair of American premieres. Czech choreographer Petr Zuska’s “D.M.J. 1953-1977” pays tribute to three Czech composers, Antonín Dvorák, Bohuslav Martinu, and Leos Janácek. Swedish choreographer Alexander Ekman’s “Cacti,” set to selections from Haydn, Beethoven, Schubert, Mahler, and Andy Stein, is a contemporary-dance parody that entangles the performers with giant Scrabble tiles. The last piece, Danish choreographer Harald Lander’s “Études,” is more familiar, the company having performed this 1948 homage to classical-ballet training in 2012. May 8-18. $29-$137. Boston Opera House. 617-695-6955,

    BOSTON BALLET’S NEXT GENERATION For the past four years, Boston Ballet has presented a one-night event showcasing the students of the largest ballet school in North America as well as the company’s Boston Ballet II, accompanied by New England Conservatory’s Youth Philharmonic Orchestra. This year, the orchestra plays the Prelude to Act 1 of Wagner’s “Die Meistersinger von Nürnberg,” and the students perform to music from Adolphe Adam’s 1845 ballet “Le diable à quatre” (“The Devil to Pay”). There’s a world premiere choreographed by principal dancer Yury Yanowsky, and the evening ends with George Balanchine’s “Scotch Symphony,” set to Mendelssohn’s Symphony No. 3. May 14. $25-$100. Boston Opera House. 617-695-6955,

    MARK MORRIS DANCE GROUP’S ACIS AND GALATEA Co-commissioned by Celebrity Series of Boston, this fully staged production of Handel’s 1718 pastoral opera is star-studded: arrangement by Mozart, costumes by Isaac Mizrahi, sets by Adrianne Lobel, choreography by Mark Morris. The sad story, taken from Ovid’s “Metamorphoses,” finds shepherd Acis and nymph Galatea in love but threatened by the monstrous giant Polyphemus, who wants Galatea for himself. With Thomas Cooley as Acis, Sherezade Panthaki as Galatea, Douglas Williams as Polyphemus, and the Handel and Haydn Society Period Orchestra and Chorus led by Nicholas McGegan. May 15-18. $35-$110. Citi Shubert Theatre. 617-482-6661,


    FESTIVAL BALLET PROVIDENCE’S PETER PAN J.M. Barrie’s classic tale has spawned countless film, TV, and musical adaptations, but not many dance works. In 2006, Jorden Morris choreographed a version for Royal Winnipeg Ballet, and in Providence, with the help of Flying by Foy, Peter, Wendy, and Tinker Bell will be dancing on air. The score is assembled from works by some of Barrie’s contemporaries, including Edward Elgar and Benjamin Britten, who’s represented by “A Young Person’s Guide to the Orchestra.” May 16-18. $23-$85. Veterans Memorial Auditorium, Providence. 401-353-1129,

    LE GRAND CONTINENTAL This contemporary-line-dance extravaganza was created by Montreal-based choreographer Sylvain Émard in 2009 and has traveled to Mexico City, New York, Philadelphia, and Ottawa. Having participated in more than 20 rehearsals, some 150 people of all ages from Greater Boston will strut their stuff in Copley Square Park. They may not bring to mind Fred Astaire and Ginger Rogers in the original “Continental,” from the 1934 film “The Gay Divorcee,” but it’s sure to be a fitting finale for Celebrity Series’s 75th anniversary season. May 16-18. Free. Copley Square. 617-482-6661,

    Jeffrey Gantz can be reached at