Live Performance in New York: Here’s What to See This Spring

‘DÍA Y NOCHE’ This coming-of-age story, set in El Paso, Texas, in 1984, is about racism and class struggle experienced through the unlikely friendship between a Chicano punk-rock kid and a Black upper-middle-class nerd who is gay and closeted. Carlos Armesto directs the LAByrinth Theater Company production, written by LAB actor/playwright David Anzuelo.
Previews begin March 18; opens March 26 at 59E59 Theaters, Manhattan.

RED BULL THEATER Even we Elizabethan geeks might not be familiar with “Arden of Faversham,” a 16th-century thriller from the quill of an anonymous playwright (Shakespeare? Marlowe? Thomas Kyd?). A wife is having an affair and, with her lover, plots the murder of her wealthy husband; naturally, things get complicated. Jesse Berger directs the adaptation by Jeffrey Hatcher and Kathryn Walat for Red Bull Theater.
Previews begin March 6; opens March 16 at the Lucille Lortel Theater, Manhattan.

For 20 years, Red Bull has, thankfully, continued to keep many great classic plays alive for contemporary audiences — they’ll also stage Francis Beaumont’s hilarious comedy “The Knight of the Burning Pestle,” directed by Noah Brody and Emily Young this spring.
Previews begin April 17; opens April 27 at the Lucille Lortel Theater.

‘KING JAMES’ The timing could hardly be better for this show, arriving onstage just a few months after LeBron James broke the all time NBA scoring record. This play by Rajiv Joseph (“Bengal Tiger at the Baghdad Zoo”), which follows two LeBron super fans who forge an unlikely bond during the basketball player’s days with the Cleveland Cavaliers, is a study of the important place sports can hold in some of our lives. I don’t even like basketball (I’m too short), and I still can’t wait! Glenn Davis and Chris Perfetti will revisit the roles they played at Steppenwolf Theater Company, where the play had its world premiere last year. Kenny Leon directs.
Previews begin May 2; opens May 16 at Manhattan Theater Club.

‘DAYS OF WINE AND ROSES’ This world premiere musical brings together the composer and lyricist Adam Guettel (“Floyd Collins”) and the playwright Craig Lucas (“An American in Paris”) for the first time since their musical “The Light in the Piazza.” Adapted from J.P. Miller’s 1962 film and 1958 teleplay, the story about a couple’s yearslong battle with alcoholism doesn’t sound super uplifting, but the creative team has quite a track record. Michael Greif (“Dear Evan Hansen”) directs the Atlantic Theater Company production. STEVEN McELROY
Opens May 5 at the Linda Gross Theater, Manhattan.

Dance

‘COPPELIA’ In “Coppelia” (1870) the old toymaker Dr. Coppelius is obsessed with creating a female doll so realistic that she can be — and is — mistaken for a human girl. But that’s not enough: Through magic spells, he tries to bring her to life. In 2023, our magic is artificial intelligence, and in Morgann Runacre-Temple and Jessica Wright’s ingenious “Coppelia,” which Scottish Ballet brings to Sadler’s Wells theater in London, Dr. Coppelius is a charismatic Steve Jobs figure in a black turtleneck, dominating technicians and androids as he attempts to create the perfect woman. The heroine, Swanhilda, is a journalist investigating Coppelius’s NuLife laboratory; her boyfriend Franz comes along and, just as in the 19th-century original, falls for the nonhuman Coppelia. The ballet won rave reviews after its debut at the Edinburgh Festival last year. ROSLYN SULCAS
March 2-5, Sadler’s Wells, London.

JORDAN DEMETRIUS LLOYD Like so many dance artists, the choreographer and dancer Jordan Demetrius Lloyd has spent the past few years resourcefully creating work outside of theaters. In 2020, he directed the stirring, contemplative short film “The Last Moon in Mellowland,” a poem in images. Last summer, his site-specific “Jerome” drew crowds of dance lovers and curious passers-by to a schoolyard in Bedford-Stuyvesant, Brooklyn. With his latest project — his first evening-length commission — Lloyd returns to the theater, both embracing its familiarity and testing out new directions, as he finds himself “on not the other side but another side of the pandemic,” he said in a phone interview. In “Blackbare in the Basement,” at Danspace Project, he and seven dancers extend on ideas from “JEROME” while considering the particularities of this hallowed downtown performance space and the history of the artists who have moved through it. SIOBHAN BURKE
March 9-11, Danspace Project, Manhattan.