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Chanticleer presents ‘Spacious Skies’: 7:30-9:30 p.m. March 20, St. Augustine Church, 3999 Bernal Ave., Pleasanton. This program showcases a panorama of American choral repertoire spanning three centuries. $20-$60. https://bit.ly/2IsO4X3. Purim in the Theater: 5-7:30 p.m. March 21, Creekside Hall, 1475 Creekside Drive, Walnut Creek. Featuring an interactive Megillah reading, dinner, music, puppet masquerade and show, photo booth, face painting and more. $10-$36. http://bit.ly/2VqmyLA. Kill The Debbie Downers!: March 21-April 21, Ashby Stage, 1901 Ashby Ave., Berkeley. Inspired by Anton Chekhov’s “Three Sisters,” “Kill The Debbie Downers! Kill Them! Kill Them! Kill Them Off!” uses live music, movement and text to explore themes of fading memories and looming revolutions. $7-$40. http://bit.ly/2BS5yq4.

“It was one of the most powerful ways to relieve the grief I was feeling,” Ho said, “And those chord progressions became songs.”, After the accident, Ho was airlifted to Santa Clara Valley Medical Center, where she underwent spinal fusion surgery, She spent six weeks in the hospital, Her injury had disrupted many of the ballet pointe shoes, with petite point autonomic bodily functions that people take for granted, She felt shame over her sudden incontinence and frustrated with her inability to perform basic tasks, Ho said she watched YouTube videos to help her re-learn everything from how to put her pants on to getting into a car..

Despite the composition’s cliches, the dancing itself was gloriously dynamic Wednesday, and the dancers brought exhilarating abandon to their performances. Dores André repeatedly corkscrewed herself into space. Luke Ingham managed to be everywhere and yet invisible as he partnered fierce Lorena Feijoo. Joan Boada seemed to run endlessly, while Frances Chung shape-shifted fearlessly. The most daring and inventive ballet on the night’s program, however, was its oldest –“Rubies” (1967), by Russian-born George Balanchine. The late founder and artistic director of New York City Ballet made this work as part of his gem trilogy, though “Rubies” is the segment most often performed alone. It’s obvious why: Mashing up American vernacular dance from the cake walk to square dance to music-hall and jazz, he sets these idioms like gems into a neoclassical ballet structure with impeccable musical playfulness, creating a quintessential American work that is sexy, haughty, jaunty, witty and both low-brow and high-brow.

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Certainly Carreño, 45, brings hefty bona fides to the task of introducing Ballet San Jose to new audiences. As the New York Times noted of the charismatic principal upon his retirement two years ago from American Ballet Theatre, “There are few dancers as adored by both balletomanes and the general public.” Before becoming a principal in 1995 with ABT–one of the most prestigious companies in the world–Carreño held that rank first with English National Ballet, then with the Royal Ballet.