Fall Arts Guide 2019: The 23 best events of the season

Photography: Akama Paul. Featuring: Dua Saleh; Hair: Dre Demry; Makeup: Denaisha Motley; Styling: Jacqueline Addison and Ebenge Umana; Production: AGAINST GIANTS and Christine Miller; Photo Assistant: Timothy Olaleye.

Photography: Akama Paul. Featuring: Dua Saleh; Hair: Dre Demry; Makeup: Denaisha Motley; Styling: Jacqueline Addison and Ebenge Umana; Production: AGAINST GIANTS and Christine Miller; Photo Assistant: Timothy Olaleye.

Fall officially starts in a little over a week. With the changing of the season comes new events to plan for. The following are some of our top picks for theater, dance, readings, music, and visual arts coming up in the Twin Cities.

L-F: Lindy West (photo by Jenny Jimenez); Kalisha Buckhanon (photo by DeJohn Barnes); Ann Patchett (photo by Heidi Ross)

L-F: Lindy West (photo by Jenny Jimenez); Kalisha Buckhanon (photo by DeJohn Barnes); Ann Patchett (photo by Heidi Ross)



Kalisha Buckhanon
Magers & Quinn Booksellers

In 2005, Essence magazine named Kalisha Buckhanon one of “three writers to watch.” Well, they called it, because plenty of people have been watching her ever since. Her novels feature smart, young, black women seeking justice and truth. Her debut, Upstate, about two lovers separated when one goes to prison, went on to win the Terry McMillian Young Author Award. After that came critically acclaimed works Solemn and Conception. Her latest piece, Speaking of Summer, is a thriller about a woman seeking the whereabouts of her missing twin sister, who disappeared shortly after the death of her mother. She’ll be discussing her new work at Magers & Quinn this fall in a talk led by Lissa Jones of the Black Market Reads podcast. 7 p.m. Free. 3038 Hennepin Ave. S., Minneapolis; 612-822-4611. September 26 —Jessica Armbruster

Twin Cities Book Festival
Minnesota State Fairgrounds

Kids get new books when they go back to school in the fall. In the Twin Cities, adults (and kids and teens) can score some fine reads at the Twin Cities Book Festival each autumn. This totally free event brings books and people together for a jam-packed day of readings from authors ranging from local to international, book sales from major publishers and small imprints, and vintage and vinyl deals. Appearances include NPR correspondant Aarti Namdev Shahani, whose memoir, We Are Here, examines America through the personal lens of her family’s immigration; Ben Percy, whose latest, Suicide Woods, is a nail-biting mystery; and YA author Rachel Gold, who explores love and gender identity with In the Silences. Find the complete schedule and more info at 10 a.m. to 5 p.m. Free. 1265 Snelling Ave. N., St. Paul; 651-288-4400. October 12 —Jessica Armbruster

Ann Patchett
Hopkins Center for the Arts

Ann Patchett has been a great writer for so long, it’s easy to take her talent for granted. She published her first short story in the prestigious Paris Review before she’d graduated from college. Her bibliography includes the exceptional novels The Magician’s Assistant and Commonwealth, and she wrote a memoir, Truth and Beauty: A Friendship about her relationship with the late writer Lucy Grealy. In 2012, TIME magazine named her one of the 100 most influential people in the world. Oh, and her 2002 PEN/Faulkner Award-winning Bel Canto happens to be one of the best novels of the millennium. It’s safe to assume the fairly prolific Patchett will have a new book coming out shortly, and it will be excellent. Still, her novels never cease to surprise with their poised lyricism and casually proffered insights. Her latest, The Dutch House, a dark tale of class conflict about the waxing and waning fortunes of a pair of close-knit siblings, looks to be another intimate story set against a rich historical backdrop. Patchett comes to town to talk about her career and The Dutch House as part of the Friends of the Hennepin County Library Pen Pals series. Both presentations are sold out, but you can still register for the waitlist online. 7:30 p.m. Thursday; 11 a.m. Friday. $45-$55. 1111 Main St., Hopkins; 612-543-8112. October 24-25 —Bryan Miller

Talking Volumes: Lindy West
Fitzgerald Theater

Author Lindy West is here to uplift women and shred male fragility. Her debut novel, Shrill, later made into a television series on Hulu, features essays on abortion stigma, period shaming, and the Fat Acceptance Movement. Her new book, The Witches Are Coming, takes on #MeToo hysteria, ripping into people who feel the movement “takes feminism too far.” Succinctly put in one excerpt: “We were just a hair’s breadth from electing America’s first female president to succeed America’s first black president... And then, true to form—like the Balrog’s whip catching Gandalf by his little gray bootie, like the husband in a Lifetime movie hissing, ‘If I can’t have you, no one can’—white American voters and the electoral college and a few Russian troll farms shoved an incompetent, racist con-man into the White House.” We’re sure West will have some amazing rants to share with Minnesotans this fall when she comes to town at part of the Talking Volumes series. Watch her chat with host Kerri Miller, and enjoy musical guest Chris Koza. 6 p.m. $32.50. 10 E. Exchange St., St. Paul; 651-370-2953. November 14 —Jessica Armbruster

"Transference: Printmakers in Mni Sota Makoce"

"Transference: Printmakers in Mni Sota Makoce" Andrea Carlson



Transference: Printmakers in Mni Sota Makoce
Highpoint Center for Printmaking

This fall, Highpoint Center in south Minneapolis continues to show how printmakers push the boundaries of the medium, from thoughtfully fresh takes on traditional approaches to edgy political statements using new techniques. For “Transference,” the space will host a collection of work from printmakers with connections to Mni Sota Makoce, a Dakota phrase that translates to “land where the waters reflect the clouds.” Curated by Alexandra Buffalohead, the show features Native artists including Dyani White Hawk, whose works are reminiscent of textiles; Julie Buffalohead, with her animal characters that are both playful and scathing; and Gordon Coon, whose pieces boast a colorful spirituality. Jim Denomie, George Morrison, Frank Big Bear, Star Wallowing Bull, Angela Two Stars, and Andrea Carlson are among many others highlighted in this exhibition. The show is on view now, and there will be a public reception on Friday, October 4, from 6:30 to 9 p.m.; and a Free Ink Day event with Denomie and Alex Buffalohead from noon to 4 p.m. Saturday, October 26. 912 W. Lake St., Minneapolis; 612-871-1326. Through October 26 —Jessica Armbruster

"Artists Respond" at Mia

"Artists Respond" at Mia L-R: Work by Rupert Garcia, David Hammons, Philip Jones Griffiths

Artists Respond, American Art and the Vietnam War, 1965-1975
Minneapolis Institute of Art

As a follow-up to its most recent triumph—the first-ever, critically lauded, blockbuster exhibition of work by Native women artists—Mia is presenting another first: the Smithsonian American Art Museum’s “Artists Respond: American Art and the Vietnam War, 1965–1975.” Unprecedented in its range and depth, the exhibition investigates the impact of the Vietnam War on American art, contextualizing nearly 100 works by 58 artists within second-wave feminism, the Black Power and Black Arts movements, and—specific to the Mia’s installation—the protests following the violence during the 1968 Democratic National Convention in Chicago. Mia’s companion exhibition, “Artists Reflect: Contemporary Views on the American War,” provides another point of view: that of Southeast Asian diaspora artists. Two Minnesota artists, Pao Houa Her and Teo Nguyen, have work in the show, along with 10 additional artists whose pieces encapsulate the myriad effects of violence and migration on memory and healing. Admission to this exhibition is $20. 2400 Third Ave. S., Minneapolis; 888-642-2787. September 29-January 5 —Camille LeFevre

"After the Explosion Documenting Chernobyl"

"After the Explosion Documenting Chernobyl" Collection of the Museum of Russian Art

After the Explosion: Documenting Chernobyl 
The Museum of Russian Art

It’s been 33 years since a safety test on a nuclear reactor in the former Ukrainian SSR caused an enormous radioactive explosion and nine-day fire. Chernobyl continues to be the largest nuclear disaster the world has ever seen. On the heels of HBO’s Chernobyl miniseries, the Museum of Russian Art presents “After the Explosion: Documenting Chernobyl,” an exhibition of photographs taken at the time of the crisis. The pictures are from the archives of Major General Nikolai Tarakanov, who is also depicted on the HBO TV show. Taken by one of his staff members, the images capture the intense cleanup efforts as well as nearby residents in the wake of the explosion. “Documenting Chernobyl” opens in conjunction with two other fall exhibitions at TMORA. In the main gallery space you’ll find Soviet posters from the museum’s collection. In the Mezzanine Gallery is “Mystical Imprints: Marc Chagall, Ben-Zion, and Ben Shahn,” featuring works on paper exploring Jewish mysticism. There will be an opening reception from 6 to 8 p.m. on Saturday, September 14. Admission is $12. 5500 Stevens Ave. S., Minneapolis; 612-821-9045. September 14-February 23 —Sheila Regan


"Possibilities" Left and Right: Work by Elizabeth Garvey; Middle: Work by Candice Davis

Alt Space

Working at the far reaches of material juxtaposition and spatial relevance, the artists in this exhibition (including Katayoun Amjadi, Hallie Bahn, Zoe Cinel, Candice Davis, Elizabeth Garvey, and Gudrun Lock) focus on process and potential, rather than completion. Their objective is to generate space in which viewers become an essential component in a work’s progress, whether our input or inspiration are put to use or not. Highly conceptual? Yes. Also? Invigorating. Rather than passive consumers of a finished artwork, the creative spaces instigated by the exhibiting artists invite us to pause and reflect, assemble and disassemble, as we see fit. Objects presented in the works vary, including notes, sketches, collages, prototypes, and video segments. “As the saying goes, the possibilities are endless,” says curator John Schuerman. “In this case, we invite everyone to imagine with us.” There will be an opening reception on Friday, September 20, from 6 to 9 p.m. 15 S. Fifth St. (skyway level of the 15 Building), Minneapolis; 612-240-2317. September 20-October 11 —Camille LeFevre

"The Expressionist Figure"

"The Expressionist Figure" L-R: Work by Zak Smith, Marlene Dumas, Andy Warhol

The Expressionist Figure: 100 Years of Modern and Contemporary Drawing
Walker Art Center

In the richly discordant and resonant world of Anishinaabe artist Jim Denomie, most specifically in the alternative pop-culture universe of Oz, the Emergence, Dorothy is a bare-chested two-spirit in blue jeans and fuchsia flats. She’s holding hands with a gun-wielding Tin Man (who has a faucet for a penis) and a Scarecrow clutching his crotch as they travel down a patchwork road lined with an array of characters. What has that work to do with, say, Willem de Kooning’s Two Torsos, a jazzy sketch of angular mark making? Or Marlene Dumas’ Name No Names, in which a woman with a Marilyn Monroe helmet of gold hair confronts three Weimar-like ink-blot men? These pieces are among the 100 or so works on paper through which artists from Degas to Denomie have examined the human figure. Artistic innovations, rendered in a variety of media—featuring Ben Shahn, Elizabeth Peyton, Rosemarie Trockel, and Kara Walker—are also included. Here the body is dismembered and remembered, brandished and emboldened, made object and subject with aesthetic ingenuity. 725 Vineland Place, Minneapolis; 612-375-7600. November 17 through April 19—Camille LeFevre

This guy is moving to the mall for Haunted Basement 2019.

This guy is moving to the mall for Haunted Basement 2019. Image courtesy event organizers



The Hollow
Tek Box

Trademark Theater describes The Hollow as a “music/movement mashup.” What, exactly, does that mean? “It’s a concept album performed live with movement and dance,” says Tyler Michaels King, the company’s artistic director. King is one of two performers who will be propelling the story through onstage movement. The other is his wife, Emily Michaels King, whose entrancing solo show Magic Girl was a highlight of this year’s Minnesota Fringe Festival. They’ll share the Tek Box space with seven musicians, including singer-songwriters Jenna Wyse and Joey Ford. “There’s a lot of exploration of the mysticism of the great outdoors,” says King, as well as an “exploration of a modern relationship.” This world premiere has been gestating for three years, about as long as Trademark has existed as a company. King and his collaborators have made it a hallmark of their process to involve their audience in the long-term development of new work. While King says The Hollow will have brooding, “super eerie” elements, it’s also “just a fucking rock concert, so we’re just gonna rock out and have an awesome night.” For tickets, email [email protected]7:30 p.m. Wednesdays through Saturdays; 2 p.m. Sundays. $25. 528 Hennepin Ave., Cowles Center, Minneapolis. October 2-20 —Jay Gabler

Penumbra Theatre

The title of Pipeline refers to the troublingly well-worn path that shunts students—particularly young men of color — from school straight into prison, with law enforcement called in to handle infractions that more privileged students would just get a slap on the wrist for. “It’s relevant all across the country,” says Penumbra Theatre founder Lou Bellamy, who’s directing the company’s production. “Every minute we lose in not inspiring a young mind will cost us down the line. This play deals with a family who has a young boy, and the young boy is in a private school where he’s sort of given the responsibility of being a representative for his race. The weight is too much for him, and he cracks.” Acclaimed playwright Dominique Morisseau won raves for Pipeline when it opened off-Broadway in 2017, with Variety calling it “an emotionally harrowing, ethically ambiguous drama.” Bellamy says Penumbra has co-commissioned an upcoming Civil War play, Confederates, by the MacArthur Genius Grant winner. “I just really, really am impressed with her voice,” he says. 7:30 p.m. Wednesdays through Saturdays; 2 p.m. Saturdays and Sundays. $15-$40. 270 N. Kent St., St. Paul; 651-224-3180. October 3-27 —Jay Gabler

The Haunted Basement 13
Rosedale Shopping Center

How scary can a mall be? If you’ve ever seen Dawn of the Dead, then you know the answer is: hella scary. This year, the Haunted Basement crew is moving into an abandoned Herberger’s, where it will freak out brave shoppers in what they are calling a “necropolis for the mall enthusiast.” “It’s a big growth spurt for us,” says Sarah Salisbury, production director for Haunted Basement. “This being our 13th year, we thought we’d test our boundaries as ‘teenagers’ and try something bigger and scarier than years past.” The new space is a sprawling 20,000 square feet, meaning the ghosts, ghouls, and other creepy characters will have plenty of room to spread out. That’s not the only thing that’s new this year. For those who aren’t into handsy scares but want to explore the dark abyss, no-touch tours will be offered. Teens 15 and over with a guardian will also be able to enjoy these evenings. And since the new location is ADA compliant, folks with varied needs will have more access than what was possible in the OG Soap Factory Basement or in their old warehouse space on Hennepin. For those who love the original event, the Basement will still be offering 18-plus nights for full-on freak-outs. And yes, you’ll still have to sign a waiver. Come for the artist-curated experience, run from the scares. Find tickets and info at 18+; 15+ no-touch sessions. $15-$40. 1595 MN-36, Roseville; 612-444-2191. October 3-November 2 —Jessica Armbruster 

Steel Magnolias
Guthrie Theater

Thirty years after the iconic film starring Dolly Parton and Sally Field, how do you turn a fresh eye to Steel Magnolias? That was easy for stage director Lisa Rothe: She’s never seen the movie. “I know that seems almost sacrilegious to some people,” she laughs. “When I mention that I’m directing it, people quote lines.” Rothe also hadn’t seen Robert Harling’s 1987 play, the movie’s basis, before recently sitting down with the script. “I thought it was very funny,” she says. “These women have an iron will, and they’re all survivors. The way they deal with so many issues is through humor.” Bringing the play to the Guthrie Theater’s McGuire Proscenium Stage with an all-female cast and design team, Rothe says she aims to evoke the intimacy of the characters’ “safe space” in a Louisiana beauty salon. Despite the story’s Southern setting, Rothe says its themes of friendship and resilience resonated with her Midwestern roots. “These women are very familiar to me,” she says. 7:30 p.m. Tuesday through Saturday; 7 p.m. Sundays. $15-$94. 818 S. Second St., Minneapolis; 612-377-2224. October 26-December 15 —Jay Gabler

The Song of Summer
Mixed Blood Theatre

Forward-looking Twin Cities theater companies have been rushing to present the work of playwright Lauren Yee, and no wonder: Her work blends personal stories with a historical sweep and a highly relatable enthusiasm for pop culture. Last winter the Guthrie gave an extravagant production to The Great Leap, and this season’s Mixed Blood production of The Song of Summer will be followed by Ten Thousand Things doing The Hatmaker’s Wife and a Jungle/Mu coproduction of Cambodian Rock BandThe Song of Summer is a romcom that pairs a returning rock star with a hometown friend who might be something more. When the play premiered earlier this spring in Rhode Island, audiences swooned, comparing it to a Hallmark card—in a good way. The show’s sincere emotions coexist, though, with a timely consideration of what artists and audiences do when an undeniable earworm has some problematic lyrics. “[It’s] simultaneously heartwarming and breathtaking,” promises Mixed Blood artistic director Jack Reuler. 7:30 p.m. Wednesdays through Saturdays; 4 p.m. Saturdays; 2 p.m. Sundays. $35. 1501 Fourth St. S., Minneapolis; 612-338-6131. November 1-24 —Jay Gabler


Lizzo Luke Gilford




Bon Iver
Xcel Energy Center

Over the past decade or so, Justin Vernon has broken down his voice. Originally a sad acoustic singer-songwriter with a signature slurred falsetto, he subjected himself to weirder and jerkier electronic treatments with each album. First, simple glossy Auto-Tune, then a gradually expanding array of glitches, creaks, amplified breaths, and electronic loogies. Similarly, his music got harsher and more disjointed, abandoning songform for the oblique fragment. His new i, i refines his voice to a stark essence, a smoldering electronic soul-crooner bellow, as he rumbles computerized ballads like “Hey, Ma” and “U (Man Like).” He’s just as famous as a collaborator: Artists who’ve used his characteristic groans to signify brooding melancholy include Kanye West, Travis Scott, Francis and the Lights, and, most poignantly, his acknowledged influence Bruce Hornsby, whose recent “Cast Off” is a duet with Vernon that reveals how much Bon Iver’s own music owes to ’80s adult contemporary. With Feist. 7:30 p.m. $26.50 and up. 199 W. Kellogg Blvd., St Paul; 651-265-4800. October 3—Lucas Fagen


Maybe you’ve heard of her? The Minneapolis-nurtured diva’s slow, steady climb to fame and ubiquity continued apace this month when the wobbly and wonderful “Truth Hurts” became her first number-one song—only two years after it was first released. In the interim, Lizzo’s major label debut album, Cuz I Luv You, expanded her reach. Ricky Reed’s bald calculation, X Ambassadors’ retro chintz, Oak’s late-pass radio-rap—each producer and co-writer on the album loiters on the unfashionable edge of pop as we know it, and they’re Lizzo’s ideal courtiers because and not despite of that. Preaching self-love more than self-care, with a joy none dare call corny, Lizzo remains eminently root-for-able not because she’s an innovator but because the familiar musical formulas she straps herself into can’t possibly contain her personality, which spills over all formal confines in unexpectedly voluptuous ways. With Ari Lennox. All ages. 8 p.m. Sold out. 500 S. Sixth St., Minneapolis; 612-315-3965. October 9 & 11—Keith Harris

Palace Theatre

Sleater-Kinney’s return this decade has been exciting and disorienting. In the past four years, the critically beloved punk band have expanded their canon with two quite different albums: 2015’s No Cities to Love, a conventionally tight, punchy noise explosion, and this year’s St. Vincent-produced The Center Won’t Hold, which hardly sounds like St. Vincent but does incorporate her musical ideas, including chilly electronic atmospherics, into a dark, coiled, jumpy, almost industrial postpunk groove. From the breathy paranoia of “Hurry on Home” to the jagged lurch of “Can I Go On,” from the anxious bleeps of “Reach Out” to the alarmed, distorted echoes of “The Future Is Here,” the new album’s experiments are true to the band’s principles: In 2019, this fraught, strained, fragile music is scarier and more uncompromising than another awesome but familiar-sounding rock album would have been. A month before the album came out, Janet Weiss announced she was leaving the band, which occasioned several worried, cranky noises from fans on social media. Don’t be afraid: This band has never stood still. 18+. 8 p.m. $32.50-$52.50. 17 W. Seventh Place, St. Paul; 612-338-8388. October 15—Lucas Fagen

Miranda Lambert
Xcel Energy Center

Miranda Lambert’s range impresses. Solo, she’s capable of arena-rock propulsion, dusty folk retro, countrypolitan ache, corny balladry, sadness, glee, and violence. With the Pistol Annies, she’s crafted an efficient, formalized style of collaborative country singing and songwriting, as Lambert, Ashley Monroe, and Angaleena Presley entwine their voices around each other with tight, chirpy, melancholy, comical expertise. Of the songs she’s released so far from her upcoming Wildcard, “It All Comes Out in the Wash” is the cheerful list of finger-wagging homilies, “Mess With My Head” the hot-and-heavy burner, “Locomotive” the gimmicky rocker, “Bluebird” the cutesy tearjerker with surprising emotional resonance, “Way Too Pretty for Prison” a comic revenge song. Where a decade ago she pulled the trigger herself in “Gunpowder and Lead,” now she’s more restrained: “He cheated, he’s a villain/So let’s hire somebody to kill him/Cause we’re way too pretty for prison.” Maturity! With Elle King, Pistol Annies, and Ashley McBryde. 7 p.m. $40.75 and up. 199 W. Kellogg Blvd., St Paul; 651-265-4800. October 19—Lucas Fagen

Image courtesy Dorrance Dance

Image courtesy Dorrance Dance


Ananya Dance Theatre
The O’Shaughnessy

Ananya Chatterjea views dancing as civic action. Her company, Ananya Dance Theatre, employs a unique movement aesthetic that draws on the classical Indian dance form Odissi, the martial art Chhau, and Vinyasa yoga. Over the past 15 years, ADT has promoted a vision of resistance and empowerment for women of color. A recent rehearsal for Sutrajaal: Revelations of Gossamer, which premieres at the O’Shaughnessy on September 20, revealed the bare bones of a multilayered work touching on everything from broken cities to the decimation of the Amazon rainforest. The production values and live musicians were not present, but the combination of fierce attack, nuanced rhythms and phrasing, sensuous plasticity, and utter commitment by ADT’s dancers transformed a modest studio into a world on fire. The final production will include live music by Tish Jones and Douglas Ewart. Political dance theater has been around for a long time, but it is seldom delivered with ADT’s level of commitment and charisma. 7:30 p.m. $19-$32. 2004 Randolph Ave., St. Catherine University, St. Paul; 651-690-6700. September 20 —Linda Shapiro

Dorrance Dance

Critical and popular kudos, not to mention a 2015 MacArthur Genius Grant and significant other awards, have followed choreographer Michelle Dorrance since she began imploding and expanding notions of tap dance with the always-game performers of Dorrance Dance. This return engagement (the New York company made its Twin Cities debut in 2015) includes three imaginative works performed to live music. The nine-minute “Jungle Blues,” set to Branford Marsalis Quartet’s recording of the 1927 Jelly Roll Morton song, conjures a smoky nightclub where musicality meets sensual movement. “Three to One” is another shorty (seven minutes), a trio to the electronic sounds of Aphex Twin and Thom Yorke, juxtaposing rat-a-tat taps with supple hip-hop moves. “Myelination,” for the full company, is a series of vignettes that plumb an array of emotions through tap, postmodern movements, breaking, and improv. The rollicking work closes out the Twin Cities Tap Festival with a boom. 7:30 p.m. $21-$50. 84 Church St. SE, Minneapolis; 612-624-2345. October 19 —Camille LeFevre

Maureen Fleming
The O’Shaughnessy

Born in Japan to Irish-American parents, where she studied butō with Kazuo Ohno (the co-founder of the exceedingly s-l-o-w and minimal movement form), Maureen Fleming has been creating her singular performances since the 1980s. Wildflowers, A Feminine Genesis is one of her most recent works. It’s a sensual, surreal solo inspired by the lush symbolic poetry of William Butler Yeats. Having developed an elastic movement vocabulary following a childhood spinal injury, Fleming wraps her limbs through and around an array of materials (a skein of white silk, a flowering bunch of red fabric, a piece of driftwood) in a sculptural array of poetic visuals that reclaim and re-contextualize female archetypes. Violinist Colm Mac Con Iomaire (the Frames), uilleann piper James Mahon, and pianist Bruce Brubaker will perform the music of Philip Glass. 7:30 p.m. $24-$34. 2004 Randolph Ave., St. Catherine University, St. Paul; 651-690-6700. October 26 —Camille LeFevre

Choreographers’ Evening 2019
Walker Art Center

Each year, the Walker’s Choreographers’ Evening presents a sampling performances from exciting dance makers on the local scene. Some artists here are well established in their careers, while others are on the precipice of a breakthrough. Even if you’re familiar with the Twin Cities dance scene, you’re still likely to discover a new gem during this show. And if you’re new? Then you’re lucky, because you have a whole world to discover. Every installation of this annual event has a slightly different flavor thanks to inviting a different choreographer or group to curate each evening. This year’s post-Thanksgiving romp has been put together by SuperGroup, a delightfully energetic collective featuring Erin Search-Wells, Sam Johnson, and Jeffrey Wells. 4 and 7 p.m. $25. 725 Vineland Place, Minneapolis; 612-375-7600. November 30 —Jessica Armbruster

TU Dance
The O’Shaughnessy

While choreographing an array of stylistically diverse works for the St. Paul-based TU Dance, which he founded with his partner, Toni Pierce-Sands, Uri Sands also makes work for companies around the U.S. During TU’s 16th season’s fall concert, Twin Cities fans—and they are legion—will at last bear witness to two of these out-of-town works. “Something Amber,” originally commissioned by Alonzo King LINES Ballet BFA Program in 2012, is 12 minutes of stillness and nuance. “Tracks,” a vivacious piece originally commissioned by Ailey II and set to music by the O’Jays, Pharrell, and Snoop Dogg, interweaves ballet, modern, and urban dance idioms in tribute to the resilience of the African-American spirit. The performance also includes a reprise of “Salve,” originally commissioned by Ballet Memphis in 2017, in which a sense of emptiness leads to fulfillment as the performers move to Gavin Bryars’ hypnotically repetitive “Tramp with Orchestra” from the album Jesus’ Blood Has Never Failed Me Yet. 7:30 p.m. Friday and Saturday; 2 p.m. Sunday. $24-$34. 2004 Randolph Ave., St. Catherine University, St. Paul; 651-690-6700. October 18-20—Camille LeFevre