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IMPRESSIONS: Dance Theatre of Harlem at New York City Center

By Henning Rübsam
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Published on May 27, 2026
Dancers of DTH in "Higher Ground"; Photo: Christopher Duggan

Founders: Arthur Mitchell, Karel Shook

Artistic Director: Robert Garland – Executive Director: Anna Glass – Rehearsal Director: Juan Carlos Peñuela

April 16 – 19, 2026

Performances watched: Saturday, April 18 and Sunday, April 19

Dance Theatre of Harlem’s recent New York City Center season might have been short, but it packed a powerful punch and resonated with audiences. 

The company’s much beloved Firebird returned to its repertory in a year when the bigger New York City troupes, namely American Ballet Theatre and New York City Ballet, also chose to show their versions of the fairy tale introduced to the dance world in 1910 by choreographer Michel Fokine. That premiere by the Ballets Russes in Paris also put the young composer Igor Stravinsky on the ballet map; and his music remains the constant in all productions of the work.

When DTH’s founding artistic director Arthur Mitchell asked John Taras to choreograph a new Firebird, in 1982, he entrusted Geoffrey Holder with the assignment to design sets and costumes. The story itself remains intact. A Young Man (Micah Bullard) captures the Firebird (Ariana Dickerson), who gives him the gift of a feather and promises to help him in exchange for her freedom. This deal turns out to be a wise one, because the Young Man falls in love with the Princess of Unreal Beauty (Delaney Washington, who deserves her sobriquet), and needs help to rescue her from the Prince of Evil (David Wright) and his band of evil creatures. The Firebird makes good on the promise, and the Young Man and the Princess have a go at matrimony. 

DTH Company Artists Micah Bullard and Ariana Dickerson in Firebird; Photo: Nir Arieli 

While the story remains familiar, Holder’s set transports viewers. Two outsized flowers painted on a drop curtain welcome one to dive into this wonderland. An outrageously sexy cut-away tutu showcases the Firebird’s long legs, and adds some feathers to the back of the garment. Va-Va-Va-VOOM! Bullard’s innocence as the Young Man in white shorts and white boots endears him to the audience. On Sunday afternoon he fails to manipulate Dickerson correctly in an overhead lift and the audience takes a deep breath. She slides down at an unfortunate angle, and the collective breath turns into an audible gasp. Yet in the moment Bullard saves her from falling on her face with a concerted bravura effort, the audience erupts with loud cheers and applause. DTH’s patrons prove to be a supportive community that holds together. The imposing Dickerson never drops her cool. While she bourrées and flutters, she represents an unattainable sensual fantasy. The Princess, however, exudes warmth and radiates human emotion, while her exceptional beauty stands out among the cast of Beautiful Maidens. No wonder Bullard can’t contain himself, and simply must be with her. When the battle against the Prince of Evil and his unsavory companions is won and the young couple celebrate their union, the Firebird reappears behind the congregation suspended in flight! This spectacular ending caps a luscious display of beauty and fantasy. Augmented by students from the North Carolina School of the Arts, and with live music from the Gateways Festival Orchestra under Jeri Lynne Johnson, the production is supervised by Leo Holder with assistance from Paul Moor, Don Padgett, and lighting designer Clifton Taylor. A host of repetiteurs and costume specialists help make this extraordinary revival happen. The company has a hit on its hands.

 Derek Brockington as Prince Ivan in Dance Theatre of Harlem's Firebird, Choreographed by John Taras, Set & Costumes by Geoffrey Holder; Photo: Rachel Papo

William Forsythe revolutionized the ballet world when he choreographed In the Middle, Somewhat Elevated for the stars of the Paris Opera Ballet in 1987. With his Frankfurt Ballet he continued his exploration of how to push ballet technique by incorporating the concepts of modern dance abstractionists Alwin Nikolais (improvisation as well as manipulation of space) and Merce Cunningham (angles of the body). DTH presents the 1996 Vertiginous Thrill of Exactitude from Forsythe’s Frankfurt tenure, challenging the dancers. After the great success of Blake Works IV, which Forsythe created specifically for DTH, it seemed logical to add another work by the most influential living choreographer of our art form. While current director Robert Garland inherited Blake Works IV from his predecessor, Virginia Johnson, who commissioned it as her final act in 2023, Garland acquired The Vertiginous Thrill... just last year. Could DTH open the door, and incubate new choreographic development? Giving the dancers the conceptually rich and kinetically exciting Forsythe pieces should prep them for anything. At the same time, these dances fill a gap for New York audiences, who have been starving for innovative and groundbreaking work. Within the last 40 years, only two Forsythe ballets saw the light of day at New York City Ballet, and only one at American Ballet Theatre.

DTH Company Artist  David Wright and Micah Bullard  in The Vertiginous Thrill of Exactitude;Photo: Steven Pisano

Coincidentally, former DTH dancer Eric Underwood emerged as a star in Forsythe’s workwithinwork, which ABT’s then director somehow neglected to acknowledge and certainly failed to act upon. Underwood left, and had a fine career at Britain’s Royal Ballet instead. 

In The Vertiginous Thrill of Exactitude, lime-green leotards with hoop tutus for the women contrast beautifully in color with the men’s short purple outfits that show plenty of leg. The simple hoop tutus move and bounce with and after each movement, and add a jazzy quality to Franz Schubert’s lively score. Forsythe’s long-time company member Stephen Galloway designed the costumes. The movement however is all Forsythe: Hips off the plumb line, supple upper bodies, fast footwork, and a masterful play with timing keep dancers and audience engaged. A leg outstretched à la seconde retracts to a retiré position in stages, as if invisible rubber bands want to show the foot its proper place. Staged by Jodie Gates, the ballet keeps the dancers on high alert. If I read their body language correctly, the dancers are saying, “This isn’t easy, but it sure is fun trying;” and I do have a good time watching. Bullard and Wright are joined by Lindsey Donnell, Alexandra Hutchinson, Alexandra Rene Jones, Kamala Saara, Ingrid Silva, and Washington.

Ingrid Silva in Blake Works IV; Photo: Cherylynn Tsushima

On Sunday, the dazzling Blake Works IV opens the program. Having premiered in January of 2023, it is informed by the isolation felt during the COVID pandemic. Subtitled “The Barre Project,” it meditates on a dancer’s daily work at the barre, which, in turn, becomes a personal playground and a place to examine and enjoy new movement possibilities. Eventually small “bubbles” of dancers appear interspersed among the fragmented solos. Only at the end of the work, however, does the ensemble come together allowing for a glimmer of hope. Music by James Blake lifts dancers Derek Brockington, Bullard, Kouadio Davis, Donnell, Hutchinson, Jones, Saara, Washington, Ethan Wilson, and Wright. But the moment belongs to ballerina Ingrid Silva, who, after 13 years with the company, is leaving DTH at the end of its current tour. Garland and a host of former company members pay tribute to Silva, who drowns in a sea of flowers and a few tears. A star moves on.

Ingrid Silva, Family, Friends, and DTH Company; Photo: Cherylynn Tsushima

Gates not only stages Forsythe’s works, but also choreographs. Her Passage of Being for six dancers adds a contemplative flavor to the program.

DTH Company Artists in Nyman String Quartet No. 2  Photo: Steve Pisano

Artistic director Garland contributes previously seen works Nyman String Quartet No. 2 (which features different, stellar casts on Saturday and Sunday) and Higher Ground. I had appreciated both works before, for Garland’s fine craftmanship, but remembered some timidity in the execution. I should not have worried, since the dancers not only look well-rehearsed, but also let loose and cut up the stage. What a joy to see these artists having fun and feeling confident in front of an enthusiastic home crowd. 

DTH Company in Higher Ground:Photo by Christopher Duggan. Courtesy of Jacob's Pillow Dance Festival

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