2026 Season Repertoire

“Firebird,” where a Russian folk tale about the triumph of love over evil is reimagined in a luscious Caribbean setting. John Taras’ choreography, paired with Stravinsky’s iconic score, comes to life through the inimitable multihyphenated Geoffrey Holder’s vibrant sets and costumes. This production, a DTH signature classic, was first created in 1982 and captivated audiences when it toured across the world. “…it does one thing other versions do not – send its audience into a whooping spell of delirium.” –

Set to Michael Nyman’s “String Quartet No.2,” DTH Artistic Director Robert Garland continues his signature exploration of the intersection of cultures that is contemporary America. Complex and witty, this sophisticated work shows off the unique capacity of the company’s artists to code-switch with abandon. 

 “This work is dedicated to the memory of two men whom I admire: John Wesley Carlos, former track and field medal winner at the 1968 Summer Olympics, well known for his triumphant salute upon the winners podium that year, and Dance Theatre of Harlem’s Founder and Artistic Director Emeritus, Mr. Arthur Mitchell (1924-2018), whose similar stand for his people, his community, and the arts “has brought us thus far on our way”…. – Robert Garland 

“Shadowed beneath Thy hand, May we forever stand, True to our God, True to our native land.” (Lift Every Voice and Sing).

Created specifically for Dance Theatre of Harlem and set to the electro-soul music of British composer James Blake. Blake Works IV (The Barre Project), was a commission for the Dance Theatre of Harlem and part of William Forsythe’s continuously evolving work “The Barre Project”. The work derives its inspiration from the propulsive and rigorously structured songs of composer James Blake, whose work appears primarily in the popular music idiom. 

 The Barre series began in 2021 at the height of the pandemic as a filmed dance that was streamed to a global audience facing the restrictions on 

live performance at the time. The live stage version for Dance Theatre of Harlem features choreographed sections that highlight the diverse and formidable talents of the ensemble and is a version of the ballet that is unique to this company alone.

Created by DTH Artistic Director Robert Garland for the Company, New Bach was first performed in September 2001, immediately after 9/11. The style of neoclassical ballet created by George Balanchine and cultivated at Dance Theatre of Harlem by co-founder Arthur Mitchell is at the center and essence of New Bach. It is a supreme expression of Garland’s, “post-modern-urban neoclassicism,” style infusing popular vernacular dance and Africanist influences within a framework of George Balanchine’s neoclassical ballet influences.

Back by popular demand, Passage of Being premiered as part of the DTH’s 2025 New York Season. A circular, and physical work, Passage of Being unfolds in three cinematic movements set to the evocative music of Oscar-nominated composer Ryan Lott (“Everything Everywhere All at Once”). Shifting perspectives and the bittersweet beauty of time’s swift journey are brought to life through Gates’ expressive choreography and inventive lighting by Michael Korsch with elegant costumes by Martha Chamberlain. At its heart of this elliptic ballet is the majestic and haunting Son Lux song, “Don’t Say It’s Too Late.” Gates weaves these elements into a poignant reflection on love, connection, and the power of the present.

Higher Ground—named one the best performances of 2022 by The New York Times and set to the sounds of Stevie Wonder was created in celebration of DTH’s 50th anniversary, Higher Ground explores political parallels between the 1970s and today through the music of Motown icon Stevie Wonder. In the words of Mr. Garland, “It has been said that African American people are the conscience of America. If that be so, then Stevie was and still is the conscience of Black America. The music’s cultural relevance and timeless messages are crucial to understanding art that can address social issues.”

Set to the soaring final movement of Franz Schubert’s “Symphony No. 9,” this electrifying work pays homage to Petipa and Balanchine with its dazzling partnering and lightning-fast allegro. Yet, it’s unmistakably modern, a bold celebration of the dancers’ ability to transform technical challenges into exhilarating feats of physical mastery.