New York City will mark the 25th anniversary of 9/11 with three dance works this September. As part of the River to River Festival, the Bill T. Jones/Arnie Zane Company premieres Bill T. Jones' Curriculum IV: Spin and Spin! Turn! Turn! Turn! at Wagner Park on Sept. 10, 12 and 13, drawing on a commission that was supposed to premiere between the Twin Towers on September 12, 2001. At Times Square, butoh artist Vangeline premieres Unforgotten: Butoh for 9/11 with cellist Katinka Kleijn, continuing a two-decade tradition of performing on the anniversary. Buglisi Dance Theatre returns to Lincoln Center with Table of Silence Project 9/11, opening with a reimagining of Buglisi's Requiem and preceded by a public dress rehearsal.

In Akron, Ohio, DANCECleveland presents dancer-choreographer Dominic Moore-Dunson's site-specific Black by Nature on Sept. 19 and 26. Performed with three dancers and musicians along two hiking trails at Cascade Valley Metro Park, the work grew out of Moore-Dunson's writings about the Black experience in nature. "The concept is that you are on a hike with me," he says. "Over time, you stop at vignettes I have created with my collaborators that say something about my exposure to nature as a Black man."

The tech-driven collective slowdanger premieres Story Ballet at the Eisemann Center in Richardson, Texas, Sept. 25–27. Built from Hector Berlioz's Symphonie Fantastique and 19th-century phantasmagoria, the five scenes feature holographs and motion-capture blobs that "look like the body with the skin taken off," says co-director Anna Thompson. The epilogue references Berlioz's Lélio, or the Return to Life: "We didn't want to drop off everyone in hell and just leave them there."

The Australian Ballet brings Christopher Wheeldon's Oscar to the United States in its first major American engagement since 2012. Premiered in Melbourne in 2024, the work weaves Oscar Wilde's life—his trial for gross indecency and imprisonment—with The Picture of Dorian Gray and The Nightingale and the Rose. It runs at Cal Performances in Berkeley Sept. 25–27 and New York City Center Oct. 8–11.

Climate concerns run through several premieres. Emily Johnson's Overflow Radio, a 24-hour installation, radio broadcast and dance work featuring 84 community-sewn quilts by Fond du Lac Ojibwe artist Maggie Thompson, premieres Oct. 9–12 at Northrop in Minneapolis, aiming to plant 1,000 trees in every tour city. Dutch National Ballet stages Prey, a climate-crisis "dark fairy tale" by Jess and Morgs (Jessica Wright and Morgann Runacre-Temple), Feb. 13–March 2, complete with an erupting volcano.

Broadway has a full slate. WANTED, a "mostly true" musical about Black twin sister outlaws in 1893 Texas, opens Nov. 8 at the James Earl Jones Theatre with Chelsey Arce's first Broadway choreography. Memoirs of Amorous Gentlemen, the first manga adapted into an American musical in English, directed and choreographed by Rob Ashford with music by Duncan Sheik, opens at a purpose-built venue called The Night Egg. Galileo: A Rock Musical, choreographed by David Neumann, opens Dec. 6 at the Shubert Theatre. Lin-Manuel Miranda's Warriors, his first new Broadway musical since Hamilton, opens in April at the Lunt-Fontanne with Andy Blankenbuehler choreographing and co-directing. Blankenbuehler also directs and choreographs Kiss of the Spider Woman for City Center's Encores! series, April 28–May 9.

New York City Ballet acquires Alexei Ratmansky's Romeo and Juliet, created for National Ballet of Canada in 2011, replacing Peter Martins' staging, with adapted designs by Richard Hudson and new lighting by Mark Stanley, Jan. 19–31. "The production is both beautifully crafted and balanced," says NYCB associate artistic director Wendy Whelan. "Nothing about it feels forced or overdone."

Houston Ballet artistic director Stanton Welch premieres Where's Alice? (Feb. 25–March 7), an Alice in Wonderland ballet set to Trent Reznor and Atticus Ross's score for The Social Network. "This is most definitely a comment on technology," Welch says. "We can't just live our lives digitally."

The season's reinventions culminate at the Paris Opéra Ballet, where Swedish choreographer Johan Inger debuts a new Giselle June 25–July 14 at the Palais Garnier—no pointe shoes or ghostly tutus in Act II, with a new score by Grégoire Hetzel, though Inger says he intends to "stay loyal to Giselle and her story." Akram Khan also reimagines José Limón's 1949 The Moor's Pavane for the Limón Dance Company's 80th anniversary, premiering Jan. 30 at Northrop before a national tour—an epic gesture, in Khan's words, "on our sense of who we are not, rather than who we are."