In Pina Land, where the women are boss and the men obediently adore them for it, the Italian Cristiana Morganti was the bossiest—and the funniest, too. She danced, but it was her mobile face, her highly expandable frizzy black hair, and her attempts to order the anarchic pleasures of her fellow players that you remembered. Now Bausch is dead, and Morganti is on her own. This triptych of solos, each scheduled for a couple of days, is all about that jolting fact. Moving with Pina (May 16–17), from the year after the choreographer’s sudden death, in 2009, is woven through with Morganti’s bits from the Bausch repertory. In Jessica and Me (May 20–21), the soloist interviews herself about herself, to wry, endearing effect. And in the most recent solo, Behind the Light (May 24–25), she labors to “explain the piece so that you don’t go home and think, what did she want to say?” Both her self-caricature and her attention to us her pliable audience is more effective than ever, because there is no longer anyone else deciding who she will be and, no longer in an opera house, we are so close. —Apollinaire Scherr