Our guide to dance performances happening this weekend and in the week ahead.
ALVIN AILEY AMERICAN DANCE THEATER at New York City Center (Dec. 28, 8 p.m.; Dec. 29, 2 and 8 p.m.; Dec. 30, 3 and 7:30 p.m.). On Sunday, this troupe wraps up its season with a special finale highlighting this year’s premieres. It was an impressive one in that regard, with compelling new dances by Ronald K. Brown and Rennie Harris; the evening culminates with “Revelations.” One more family matinee remains, on Saturday, which includes a Q. and A. with Ailey dancers following the performance. Looking ahead to Jan. 5 — on what would have been Ailey’s 88th birthday — Judith Jamison, the company’s artistic director emerita, holds a workshop at Ailey Studios. Open to dancers of all levels and backgrounds, it is a personal celebration of the group’s founder.
AMERICAN DANCE PLATFORM at the Joyce Theater (Jan. 3, 8 p.m.; through Jan. 7). Six companies take part in this showcase, starting with the mixed bill of the Martha Graham Dance Company and Stephen Petronio Company. The Graham troupe, led by its artistic director, Janet Eilber, presents Pontus Lidberg’s “Woodland” and two sections from Graham’s revelatory “Chronicle”: “Steps in the Street” and “Prelude to Action.” For his part, Petronio offers his own “Hardness 10” and Steve Paxton’s “Excerpt From Goldberg Variations.” The run continues with more pairings: from Philadelphia, BalletX and Raphael Xavier (Jan. 4 and 6), and Ephrat Asherie Dance and Ronald K. Brown/Evidence with Arturo O’Farrill and Resist (Jan. 5 and 6).
LES BALLETS TROCKADERO DE MONTE CARLO at the Joyce Theater (Dec. 28, 8 p.m.; Dec. 29, 3 and 8 p.m.; Dec. 30, 3 p.m.). It may not be as conventional as “The Nutcracker,” but any performance by the Trocks, as they are affectionately known, adds up to one of the most festive outings in town. This all-male company of highly technical dancers and comedians skews the classics with old-world glamour. This year, there are two programs and the welcome return — after 15 years — of Robert LaFosse’s Balanchine-inspired “Stars and Stripes Forever,” set to music by John Philip Sousa.
CHASE BROCK EXPERIENCE at the Beckett Theater at Theater Row (Dec. 28-29, 8 p.m.; Dec. 30, 3 and 7 p.m.; Jan. 2-3, 8 p.m.; through Jan. 13). Brock plants his new piece, “The Girl With the Alkaline Eyes,” in a futuristic setting: a high-tech lab where Oliver, a young coder, is hard at work on a secret project related to artificial intelligence. (It’s all in the title.) In this 70-minute dance thriller, featuring a score and scenario by Eric Dietz, Brock explores the desire between a man and his machine.
‘GEORGE BALANCHINE’S THE NUTCRACKER’ at the David H. Koch Theater (Dec. 28-29, 2 and 8 p.m.; Dec. 30, 1 and 5 p.m.). It is the last weekend to bask in New York City Ballet’s stellar mix of dancing and storytelling. From the party scene to the sparkling Kingdom of the Sugar Plum Fairy, this holiday classic, with its visual surprises and heart, never fails to delight. On Saturday at 2 p.m., the cast features a young, talented trio: Emilie Gerrity as the Sugar Plum Fairy, Silas Farley as the Cavalier and Miriam Miller as Dewdrop.
TONY ORRICO at Signs and Symbols (Jan. 3, 6-8 p.m.; through Jan. 27). The gallery hosts “A Continued Gesture Towards Us,” a site-specific performance and exhibition in which Orrico, an artist and dancer, translates his movement practice into visual forms. His performative works — two-handed drawings as intricate and feathery as spiderwebs — create three-dimensional experiences in which he uses his body as a guide for measurement. For the first two weeks of the show, Orrico will turn the gallery space into his studio; in addition to graphite, he will work with rope, reclaimed wood, foam, glue and plaster. Opening night features a reception and a 90-minute session in which Orrico performs a drawing. It’s a fascinating sight.