Akram Khan is a master of fusion. His precocious talent for kathak— the flamboyant, suave, ancient North Indian answer to tap dance—may have made him a baby star in London’s Indian classical dance scene, but his adaptations of other people’s idioms—a pro-Labor Giselle; stick-wielding martial arts scenes in Dragon Spring Phoenix Rise—have built his international reputation. Nevertheless, some of us have long been hoping Khan would get back to the inimitable, invaluable idioms of Indian classical dance, which deserve large audiences. Finally he has. The ensemble work Gigenis consists of an all-star cast of Indian classical dancers and musicians. Khan directs. There is still risk of diminishment: bharatanatyam and odissi, for example, are traditionally done solo, with one performer playing mortal and god, narrator and narrated. Still, when you have in your cast the likes of the kutiyattam artist Kapila Venu (and there is no like), how could you not use her to advantage? Her flashing, bloodshot eyes in The Abandonment of Sita, at the Asia Society in 2012, were reason enough to show up. —Apollinaire Scherr