EIFMAN BALLET at New York City Center (June 7, 8 p.m.; June 8, 2 and 8 p.m.; June 9, 2 p.m.). The Broadway revival of “My Fair Lady,” soon ending its run, is a modern take on the Greek myth of the sculptor Pygmalion and his creation, Galatea. Now from St. Petersburg, Russia, comes “The Pygmalion Effect” by the choreographer Boris Eifman, known for his maximalist and often quirky stagings of well-known stories. In this telling, to the music of Johann Strauss Jr., the sculptor is instead a ballroom dancer who seeks to transform an awkward girl into a star. Ballet is the primary dance language, but in the ostentatious style and boisterous spirit of this production, “The Pygmalion Effect” could be a distant cousin of the Lerner and Loewe show uptown.
PILOBOLUS at the Joyce Theater (June 11-12, 7:30 p.m.; June 13-14, 8 p.m.; through June 29). It has been five years since the members of this animated, audience-pleasing troupe performed at the Joyce, but they’re making up for it with a three-week residency comprising two programs of dances made from 1971 to 2017. The most recent work is “Branches,” set to the sounds of nature and inspired by the woods of the Berkshires, where it was first performed. The oldest is 1971’s “Walklyndon,” a quartet that epitomizes the company’s founding philosophy of playful physicality. Both programs feature “Rushes,” a 2007 collaboration with the Israeli choreographer Inbal Pinto that allows Pilobolus to exhibit a rare melancholic poignancy.
SUNDAYS ON BROADWAY at Weis Acres (June 9, 6 p.m.). This intimate performance series, held in Cathy Weis’s downtown loft, concludes its spring season with a program curated by Weis and Emily Climer. Their guests include Jeremy Nelson and Luis Lara Malvacías, presenting the seventh in a series of improvised duets that explore time and aging, and Walter Dundervill and the video artist Iki Nakagawa, who have turned the process of creating a dance film into its own work. A programmatic gap in the fall was creatively filled by improvisational dances from a number of artists, and that fix was so successful it will be repeated as “Shorties,” described in press materials as “a flurry of micro-dances,” featuring 10 artists in one- to two-minute improvisations.
PAUL TAYLOR DANCE COMPANY at the Manhattan School of Music (June 7, 8 p.m.; June 8, 2 and 8 p.m.; June 9, 2 p.m.; June 11-12, 7 p.m.; through June 23). There was something about Bach that brought out the best in Paul Taylor. Whether he found in the composer a profound joy, as in the carefree classic “Esplanade,” set to a violin concerto, or romantic despair, as with “Promethean Fire,” danced to the organ blasts of “Toccata and Fugue,” Taylor seemed in direct communication with Bach. As part of its Bach Festival, and in memory of Taylor, the Orchestra of St. Luke’s presents a program of his Bach dances, as well as a world premiere by the very busy, much-admired choreographer Pam Tanowitz.