dance

Variety of celebrations in GHDT ‘Winterfest’

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By Wendy Carson

Gregory Hancock Dance Theatre gives us a shimmering delight with its presentation of “Winterfest,” paying tribute to pretty much every December holiday/celebration in existence.

This inclusiveness, combined with Gregory Glade Hancock’s style of choreography make this show a standout and must-see for anyone who enjoys dance of any kind. Plus, this year’s show highlights a new opportunity being offered by the GHDT Studio.

To “Welcome Winter,” we begin with three of the dancers showing off their ballet prowess in toe shoes, then move to a couple’s romantic encounters, and finally six dancers flitting about conjuring literally visions of sugarplums dancing in our heads. And that was just the first of the ten pieces being offered.

Primary male dancer Thomas Mason, who choreographs most of the sections of the program, highlights the younger student dancers in “St. Nicholas Day.” Their energy and grace brought a joyous warmth to the performance.

Hancock’s costuming sense hits a crescendo with the next two numbers: “Kwanzaa” has the dancers in black outfits with red and green stripes, highlighting the colors of the festival, while each has an individual emblem on the top representing one of the holiday’s seven principles. A simple white dress with an indigo ombre skirt represents the rebirth of light after the longest night of the year to celebrate the “Winter Solstice,” or Yule.

“Diwali” finds the younger dancers back and allows each one a short solo to highlight their individual abilities.

To expound on the opportunity I mentioned above, Guest dancers Zoe Maish and David Elser present a lively ballroom version of “Man with the Bag” to show off their skills and allow you to see what potentially waits for anyone signing up for Ballroom Dance lessons that they will soon be offering.

Mason’s choreography of “Saint Lucia Day” showed the somber spiritual grace and beauty that is also a solid part of the holiday celebrations.

Dancer and frequent GHDT program cover model Olivia Payton shows off her choreographic chops with “Las Posadas,” which celebrates Joseph and Mary’s journey to the stable in Bethlehem. These dances offer a flirty style and allows each primary dancer a chance to individually shine.

Hancock choses to highlight both the solemn history behind “Hanukkah” and the joy and humor of those of the Jewish faith.

The evening concludes with “Christmas,” choreographed by Mason, and allows for a few of the very youngest pupils to show off what they’ve learned as well as bring smiles to one and all. The whole troupe gets to shine throughout.

Dancers include Mason, Payton, Abigail Lessaris, Sophie Jones, Vivien Mickels, Josie Moody, Audrey Springer, and Nathalie Boyle, as well as students Eva Abanunova, Arden Brothers, Valerie Bussell, Magnolia Donaghey, Fiadh Flynn, Luna Garelli, Lera Griffis, Vivien Maresh, Hazel Moore, Morgann Rice, Isabella Webb, and Anya Willis.

After the show, there is a complimentary hot chocolate bar to help you keep the joyful moments going.

The entire night was spectacular and really gets you energized for – as well as remembering the meanings of –the Winter Holidays.

The best part is that this was not just a one-weekend production! See it for yourself Friday, Saturday, or Sunday, Dec. 12-14, at The Florence at The Academy of Gregory Hancock Dance Theatre, 329 Gradle Drive, Carmel. Get tickets at gregoryhancockdancetheatre.org.

GHDT ‘Casket Girls’ dance again

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By John Lyle Belden

Though shrouded in myth, the story of the “Casket Girls” is true*. In the 1720s, by order of King Louis IV of France at the urging of the Church, young women were sent to new Gulf Coast colonies to be wives to the men there in hopes of keeping them civilized and Christian.

These filles a la cassette (girls with suitcases) were eventually referred to with the word casquette, which conjured the more popular term. They were pale and delicate, it was said, sensitive to the sun and, perhaps, the magical spirit of New Orleans.

Gregory Hancock Dance Theatre has revived its production that tells the legend with “modern gothic vampire” flair, featuring original music by Cory Gabel. Choreography and costumes are again by Gregory Glade Hancock, with lighting by Ryan Koharchik.

This modern-dance ballet centers on the character of Catherine (Abigail Lessaris), a Casket Girl who lives with the Sisters of St. Ursula until she finds her beau, Jean (guest dancer Cody Miley). But supernatural forces strike, changing her forever.

The second act brings the undead Catherine back to New Orleans a century later, finding an ally in voodoo priestess Mother Ava May (Olivia Payton) and love with sweet Saraphine (Josie Moody). But evil Lucien (Thomas Mason) wants to rule the city, and if Catherine doesn’t join him, he knows the Casket Girl now has something to lose.

Dancers also include Nathalie Boyle, David Elser, Fiadh Flynn, Sophie Jones, Zoe Maish, Vivien Mickels, Hazel Moore, Audrey Springer, Josie Steinmetz, and Lucy Grontkowski of The Conservatory of Dance at Granger, Ind., with guest vocalist Tessa Gibbons.

Stunning and beautiful throughout, the music and movement embrace a dark atmosphere evoking the works of Anne Rice and the goth-punk aesthetic of the World of Darkness roleplaying games. Gabel, in close collaboration with Hancock, brings a Nine-Inch-Nails-esque percussion to the score, giving a relentless beat to the characters’ stilled and breaking hearts.

A unique danse macabre for this spooky season, “The Casket Girls” have just one performance remaining, 5 p.m. today (Oct. 25) as I post this, at The Tarkington in the Allied Solutions Center for the Performing Arts in downtown Carmel. Watch for this production to likely return in coming years.

With this, GHDT opens its 28th season. Next up is its next improvised collaboration in the “Melange” series on Nov. 15-16 as Mickels dances while vocalist Jessica Hawkins sings and Madhuchhanda Mandal creates a visual work of art. The full company celebrates the Holidays with Winterfest on Dec. 4-7 and 11-14. These performances will be at The Florence performance space at The Academy of Gregory Hancock Dance Theatre, 329 Gradle Dr., Carmel.

Full information and tickets at gregoryhancockdancetheatre.org.

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(*History and legend of the Casket Girls at NewOrleans.com)

Time to dance again: Footlite presents ‘The Prom’

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By John Lyle Belden

It’s not spring; still, any time is good for recognizing we need to let those around us be their authentic selves. In this spirit comes the latest production of “The Prom” at Footlite Musicals.

This Broadway hit – book by Chad Beguelin and Bob Martin, music by Matthew Sklar, lyrics by Beguelin, concept by Jack Viertel, inspired by actual 2010 events in Mississippi – is, as I’ve mentioned before, sort of a “Footloose” for our era, with hints of “Cinderella.”

Broadway stars, or at least they used to be, Dee Dee Allen (Karen Frye) and Barry Glickman (Sam Godsey) have their latest show flop so bad, it closes after opening night. Commiserating with their assistant, Sheldon (Isaac Becker-Chamberlin); Angie Dickenson (Abigail Okerson), who has been stuck in the chorus of “Chicago” for years; and unemployed former sitcom star Trent Oliver (Dustin Branum), who constantly mentions attending Julliard; they look for something to improve their public profile.  

In the (fictional) town of Edgewater, Indiana, the High School PTA cancels its Prom after learning student Emma Nolan (Marachey Fowler) plans to bring another girl as her date. While finding herself more bullied than usual, Emma has an ally in the principal, Mr. Hawkins (Shawn Hunt). Together they petition the PTA, led by staunch conservative Mrs. Greene (Katie-Rose Connors), to reconsider. But as they make their case, guess who comes barging in to “save” the day?

The cast also includes Claire Donnelly as Alyssa, Mrs. Greene’s daughter and Emma’s secret girlfriend; Zaylee Jaliwala and Nayima Hall as cheerleaders Kaylee and Shelby; Zaire Gladden-Williams and Conner Becker-Chamberlin as students Nick and Kevin; as well as Kevin Bell, Nate Copleland, Jerry Davis, Nathan DeMyers, Sophie Eastman, Kathleen Fox, Cari Gallagher, Emma Gedig, Josh Hoover, Kerrigan McSweeney, Michael Morrow, Gwendolyn Pickett Kenan, Tinnin, Katie Van Den Heuvel, Jennifer Zotz, and Thomas Zotz.

As events unfold for a teen who just wanted to dance, all characters confront uncomfortable truths, from the New Yorkers’ narcissism to schoolmates’ unquestioned beliefs. The musical was written as taking place in Indiana as a jab at then-Vice President Pence, but having Hoosiers play Hoosiers lends an authentic feel and softens the genuinely funny digs against our state (though the play does make Applebee’s look good).

Frye gloriously goes full diva, reminiscent of Patti LuPone at her most catty, as Dee Dee. Godsey’s Barry is like the sweet hyper child of James Corden and Harvey Fierstein. Donnelly’s dancer, “antelope legs” and all, follows her chorus instincts to help a fellow girl in trouble. Branum makes the most of a unique character with an interesting arc, whose unconventional thinking ends up helping.  Hunt plays Mr. Hawkins steadfast as the fulcrum on which the whole plot turns (I know I said this in a prior review, it still works). Isaac Becker-Chamberlin is charming as the one responsible for wrangling the various celebrity egos.

Connors is daunting as a woman whose mothering instincts have overtaken her compassion. Jerry Beasley, who directed with Claire Slaven, helped guide her actions at the show’s end, which suggest the possibility of healing.

As for the star of the show, Marachey Fowler is amazing! From her first song, she exhibits natural power, control, and stage presence. You can’t help but feel not just for her, but with her, in every scene. We are amazed this is only her second musical, and look forward to seeing whatever she does next.

Donnelly is also excellent, and nails Alyssa’s signature song. Her fellow students also sing well, and wow us with their dancing, choreographed by Thomas Mason.

The orchestra is led by Jeremy Kaylor.

Make a date for “The Prom,” with two more weekends, through Oct 5, at 1847 N. Alabama St., Indianapolis. Get info and tickets at footlite.org.

IndyFringe: Fae – An Original Story of Unusual Belly Dance

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

The Painted Knees arrived at Fringe this year with a spectacular dance extravaganza for all ages. Directed by Liz Wray and Lisa Warner, the show presented belly dancing in a narrative art form closer to how it originally began.

The show opens with a dance that highlights all the performers before the story begins. This gives you a nice look at the cast as well as setting us up for the tale we shall witness.

The story unfolds in much the same way as a ballet would, with no speaking and only dancing to drive the narrative. However, the troupe not only gives you background story in the program, it also cleverly breaks the show down into its various scenes with titles to keep you from getting lost.

The show overall was a sheer delight to behold. The dancing was spectacular, and the costumes/makeup effects were amazing.

I must say, as a past student of belly dancing, it is lovely to see the variety of body shapes present in the cast. Belly Dancing was created for a more ample body size and that was reflected well here.

This show was one of the most unique offerings at this year’s Fringe. I hope that The Painted Knees will continue to bring their skills and artistry to the Fringe stage for many years to come. I certainly look forward to seeing them again.

IndyFringe: Beyond Ballet

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This is part of the 20th Anniversary Indy Fringe Festival, Aug. 14-24, 2025, in downtown Indianapolis. For information and tickets, see indyfringe.org.

By John Lyle Belden

You have one chance left to see “Beyond Ballet,” presented by Indianapolis Ballet, at 2 p.m. Saturday, Aug. 23, at The District Theatre. Given the rarity of seeing this professional company for such an affordable price, this is likely sold out. Still, check and see if you’re lucky.

What you will see (or miss) is an extraordinary display of beautiful, disciplined artistry in motion, showcasing the physical strength, stamina and control of the dancers. The style mostly exemplifies traditional ballet, even the woman in the pas de deux with a slow-tango feel works in toe-shoes. In a more modern mode is a piece choreographed by local legend David Hochoy, a trio (pas de trois, I believe is the term) to lyrical guitar and aria.

Further, it seems they brought the entire company to this exhibition. You rarely see the same person in two dances, giving us a sampling of Indianapolis Ballet’s varied and diverse talents. In the final curtain call, they overwhelm the District mainstage.

Information on their upcoming season is at IndianapolisBallet.org.

GHDT finishes season strong; watch for more

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By John Lyle Belden

This evening (June 7) Gregory Hancock Dance Theatre concludes its 27th season with bold works for “Summer Solstice.”

According to my quick websearch, earth.com notes the Solstice (longest day of the year, coming in just two weeks) is celebrated by many spiritual traditions, important for “setting an intention” for the coming months. With this weekend’s program, Gregory Glade Hancock and his talented dancers show their continued willingness to expand the use of movement to communicate feelings and stories.

In the world-premiere of “Let It Be Known,” poet Bruce Ford delivers a long monologue of hip-hop style verse that speaks to struggle and aspiration that draws on his Black experience and hope for humanity. As he speaks, dancers Thomas Mason, Sophie Jones, Abigail Lessaris, Josie Moody, Cordelia Newton, Olivia Payton, and Audrey Springer reflect and illuminate his words. Together, they make the “music” that we feel – no background song is played or necessary. Ryan Koharchik’s exceptional (as always) lighting design comes into play here with precise use of spotlights.

Another premiere is “Journey to Freedom,” a series of dances evoking the pain of a nation’s people being invaded, occupied, and displaced, as well as their bravery to overcome. The focus is on Eastern Europe, which Hancock is personally familiar with, including recent travels. The pieces honor Latvia, where residents once kept a secret “national anthem;” Poland, once invaded on two fronts attempting to erase if from the map; and, Ukraine, where their struggle continues today. The movement is strong and evocative, to music ranging from traditional to contemporary, as well as sublime work by Polish composer Frederic Chopin (a beautiful solo by Moody). The principal dancers are joined by summer interns Nathalie Boyle, Gwynevere Deterding, Tasha Sterns-Clemons, and Izzy Wolf, with Academy of GHDT student Hazel Moore appearing as the “flower girl.”

After the intermission, the mood shifts from the very serious to the exceedingly strange with an abridged version of Hancock’s 2006 “Alice and Her Bizarre Adventures in Wonderland,” envisioning Lewis Carrol’s classic story through a warped punk-Goth lens – as if to wonder, what would frighten yet enthrall a young girl today? Springer is our title character, bringing us with her down the rabbit hole to meet a fascinating edging on nightmarish cast. Highlights include Payton as the Cheshire Cat, Mason as the Caterpillar, Lessaris as the Duchess, Newton as the Mouse, Moody as Queen of Hearts, and Jones as the Mock Turtle. All the dancers are in Wonderland, including students Moore, Fiadh Flynn, Penelope Lomax, Josie Steinmetz, and Megan Webb.

As for the dance sequences, Hancock said he was once asked, “if you choreograph this while awake, what are your nightmares like?” It says something about our tastes, I guess, but we were thrilled, with Wendy hoping to see the full show staged again someday.

What we know will happen is the upcoming 28th season. It kicks off with the “Fashion at the Florence” fundraiser on Sept. 13 at 329 Gradle Drive, Carmel. Dance programs feature the return of “The Casket Girls” in October, “Exodus” in March 2026 and “Antony and Cleopatra” the following June. There will also be “Melange” presentations of improvised dance and art with guest vocalists the weekends of Sept. 20 and Nov. 15, as well as March 14 and May 16, 2026.

For all the details – and tickets to today’s 5 p.m. performance at The Tarkington stage of the Allied Solutions Center for the Performing Arts in Carmel, if you see this right after it’s posted – visit gregoryhancockdancetheatre.org.  

‘Spring’ anticipates more artistry from GHDT

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By John Lyle Belden

Gregory Hancock Dance Theatre had a beautiful two-day run of its program, “Spring Equinox,” on April 4 and 5 at the Center for the Performing Arts in Carmel. Circumstances led to us seeing it on the second day.

I’m usually not comfortable writing up something you who read this cannot also enjoy. However, Gregory Glade Hancock’s company has much more planned in the coming weeks and months.

In “Spring Equinox,” which he said was themed around “beauty in unexpected places,” Hancock mostly brought back works he choreographed for a past generation, including “The Western Wall,” as dancers represented prayers flying up from the old Jewish Temple wall  in Jerusalem, using colorful costumes from the 1998 premiere; and “Contusion,” an abstract dance set to the percussion music of Australia, originally premiered in 1999 but now with updated costumes to better reflect Aboriginal culture. This latter piece, even with less of a storytelling element, was still a crowd-pleaser with its energy and rhythms that the audience spontaneously picked up, clapping to encourage the dancers.

This season’s company – Abigail Lessaris, Sophie Jones, Josie Moody, Cordelia Newton, Olivia Payton, Audrey Springer, and Thomas Mason – had solo opportunities in 1998’s “God’s Island,” with its country-folk soundtrack, and for Mason, an excerpt from the recent production, “There’s No Place Like Home.”

This program also presented a beautiful new work by Hancock, “The Lady of Krakow,” inspired by his recent visit to Poland during a tour of Eastern Europe. There, he saw a street performer singing, observing not only her but also how other people reacted, stopped to listen, or just walked on by. “And I thought to myself,” Hancock said in his pre-show talk, “what if they just started dancing?”

In this performance, acclaimed local vocalist Ashley Nicole Soprano stood center stage as The Lady, treating us all to sacred operatic arias as the GHDT dancers walked around and by, then one or two or more at a time, stopped, and swaying to her vocal spell, became the music visually.  Hancock student dancers Arina Bolotina, Magnolia Donaghey, Penelope Lomax, Isabella Webb, and Brittney Zhang joined the company in this wonderful spectacle. It had the feel of a street scene being elevated to a moment in a ballet or classic silver-screen musical.

Soprano will return to collaborate with GHDT in its next “Melange,” May 17-18 at The Florence performance space in The Academy of GHDT, 329 Gradle Drive in Carmel. In this show, as in past Melanges, our vocalist will be the only one with a planned program, but no rehearsal. She will be joined by Hancock company dancer Springer, who will interpret as the singing and music moves her, and visual artist Gaby Mojica, who will observe and create an original work in acrylic paint inspired by it all.

The company as a whole will return to The Tarkington stage at the Allied Solutions Center for the Performing Arts in downtown Carmel for “Summer Solstice” on June 6-7 with another program of new and revived dances.

For information, and tickets to “Melange,” see gregoryhancockdancetheatre.org; tickets to “Solstice” are also available at thecenterpresents.org.

A swingin’, showtune singin’ GHDT ‘Melange’

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By John Lyle Belden

If you are reading this before 3 p.m. Sunday, March 16 (I’m posting it only hours before), do consider heading over to Gregory Hancock Dance Theatre’s office and studio on Carmel’s Gradle Drive, in the big black box of The Florence, to see the latest collaboration of “Melange.” For the $20 ticket, you get 16 hit tunes sung by the fabulous Tim Hunt, along with the grace and energy of dancer Abigail Lessaris, during on-the-spot creation of art by painter Lily Kessler.

If, as most will, you read this late Sunday or after, read on to get the feel for this unique production that had excellent performances by other eclectic trios last year and should return in future months.

The concept is simple and challenging. Gregory Glade Hancock assembles a vocalist, a visual artist, and one of his company dancers for a weekend of three performances. The person singing and/or speaking arranges a one-hour program without collaborating with the others – they might not even meet until the first show date. So, for the dancer and artist the work is entirely improvised, drawing inspiration from everything in the moment. The results are each unique, coming together nicely due to the dedication and professionalism of the participants. The artwork is shown to the audience at the end – taking a photo of it is ok – and it is donated to GHDT and immediately auctioned.

Each vocal artist brings their own flair, naturally, and you may know Hunt from his recent “sweet” turn as Frank in Indy’s “Rocky Horror” – but he’s not doing that character here. He sings popular bits from other shows he’s done, ones he just liked the sound of, and one he would really like to do. He also displays his love for the songbook of Rat Pack-style jazz and Harry Connick, Jr., with a number of swinging and sentimental songs. He’ll also give us a little Don McLean (“Not that song,” he says before, “or that other one, either”). The delivery is pure joy; it would be worth the ticket and more if this were just his cabaret.

However, there is also Ms. Lessaris, an instructor and the assistant director for GHDT, and frequently a featured dancer in their shows. Her flowing modern and ballet style matched the beat leaving her glowing with energy (and sweat) and enjoying every minute. Styles ranged from gentle grace to the opportunity for a quick hillbilly jig. The songs having instrumental breaks even gave her “solos” to show off. One wouldn’t know there was no prior collaboration.

Abstract painter Kessler, an adjunct professor at Butler University and creator of “The Art of Living Yoga” book series, literally let the energy of the hour guide her into her work. The resulting in-balance beauty I’ll not elaborate on as today’s creation won’t necessarily be the same as it, however this original – her fastest work, she confessed – was worth more than its multiple bids.

See gregoryhancockdancetheatre.org for information on this and future performances, including the dance programs “Spring Equinox” on April 4-5 and “Summer Solstice” June 6-7, both at The Tarkington at the Center for the Performing Arts in downtown Carmel. The Academy at GHDT is at 329 Gradle Drive.

Cajun celebration with GHDT

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By John Lyle Belden

While the parties are rolling out in New Orleans – starting with a Super game and parading towards Mardi Gras – Gregory Hancock Dance Theatre indulges in some big fun “Down on the Bayou.”

Gregory Glade Hancock dusts off a couple of past works with the feel of southern Louisiana culture, starting with the title sequence. It kicks off with the Hank Williams Sr. hit, which the dancers take to with joyous energy, like a hot night on Bourbon Street. An eclectic mix follows, with various rhythms. Being the lone principal male dancer, Thomas Mason gets a huge workout, including pairing with Abigail Lessaris and Olivia Payton, and even a solo. Also we see the talents of Josie Moody, Audrey Springer, and new members Sophie Jones and Cordelia Newton.

A couple of numbers showcase the young students of the Academy of Gregory Hancock Dance Theatre: Abigail Arboleda, Arden Brothers, Fiadh Flynn, Penelope Lomax, Hazel Moore, Josie Steinmetz, Megan Webb, and Britteny Zhang. They already show great poise and potential.

The main company gets their mojo working with “Papa Legba,” featuring Mason as the titular Vodun character, as well as Newton, Springer, and Moody, before the others join in. Atmosphere (including lighting designed by Mason) and Hancock’s costuming contribute to this piece’s mystical feel.

The second half of the program brings out Hancock’s knack for visual storytelling with “Why Look at That Moon,” set to a series of songs by celebrated Louisiana-born songwriter Victoria Williams. Her unique voice and country-folk style provide the canvas on which the dancers bring forth movement suggesting the “Boogieman,” the woman at the “Clothesline,” the “Wobbling” bird, and even old “Tarbelly and Featherfoot.” Featured dancers include Lessaris, Moody, and Newton, and there is a sweet pas de deux with Mason and Jones to “Can’t Cry Hard Enough.”  

A celebratory and sensational program of dance, we have two weekends left “Down on the Bayou,” through Feb. 23 at The Florence at the Academy of GHDT, 329 Gradle Drive, Carmel. Get info and tickets at gregoryhancockdancetheatre.org.

DK explores shifting relationships, past and future

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By John Lyle Belden

The power and high quality of Dance Kaleidoscope continues in artistic director Joshua Blake Carter’s second season, starting 2025 with a bold program, “Nothing is forever, darling,” at the Schott Center for the Arts on the campus of Butler University on Indy’s near-northside.

In Carter’s choreography, we encounter a wide variety of style and emotion in company premiere works. The title piece is performed to a set of songs by Rufus Wainwright, whose unique voice is a vital aspect of the atmosphere. This soundscape is given life by the movement of the dancers ranging from carefree (“Movies of Myself”) to melancholy (“Leaving for Paris”) and back again.

In “Fever Dream”, mortality and intimacy meet, choreographed by Sean Aaron Carmon to the music of Iron and Wine. In minimal, flesh-toned costumes, dancers Cody Miley and Sarah Taylor perform a stunning “nude” pas de deux.

With “Take A Gambol” the company has fun with a 60s jazz style in hip black suits and – in a first for DK – shoes! Originally created by Carter for a Chicago company in 2018, this piece includes music by Maynard Ferguson and Perry Como. Think “Fosse meets Rat Pack” for a hint at what it’s like.

For the intense second act, Carter presents the world premiere of “Shaker Loops,” with his choreography to the 1978 work of that name by composer John Adams. This could be looking to the past, inspired by sound-recording methods of its era with costuming a nod to a now-vanished religious sect, but its electronic sound, frenetic tension-building movement and stark lighting (designed by Laura E. Glover) gives a sort of sci-fi vibe. The result is a fascinating and sensual experience with dancers in perfect command of their bodies.

Along with Miley and Taylor, performers were Jonathan Cubides, Ryan Galloway, Ryan Jaffe, Courtney Jefferies, Marie Kuhns, Vivian Mickels, Natalie Nagy, Morgan Ranney, Nathan Rommel, Julie Russel, Manuel Valdes, and Zay.

This program had a single weekend, Jan. 17-19. Upcoming performances by Dance Kaleidoscope include the world premiere of “Emerge” by DK’s Jaffee & Hall Emerging Choreographer Award Winner, Tsai Hsi Hung, on March 14-16, and “Under the Covers,” featuring dance by Carter and Autumn Eckman to songs by familiar artists including Billie Eilish and Brandi Carlile, May 30-June 1. Both of these will be at The Toby at Newfields. For information and tickets, see www.dancekal.org.