Dance Theatre of Harlem made a highly anticipated return to Chicago on Saturday, marking its first performance in the city in nearly a decade. The company, founded in 1969 by New York City Ballet principal dancer Arthur Mitchell during the civil rights movement, showcased a program that highlighted both its rich history and artistic versatility at the Auditorium Theatre.
The evening opened with Robert Garland’s "Return," a neoclassical ballet originally created in 1999. The work blends funk and classical ballet, set to music by James Brown and Aretha Franklin, reflecting Garland’s personal artistic journey and the company’s unique identity. This performance was particularly meaningful as it symbolized Dance Theatre of Harlem’s resurgence following an eight-year hiatus caused by financial difficulties, with the program serving as the official launch of its new season dedicated to North American dance.
Garland’s choreography deftly melded classical ballet technique with movements inspired by funk, soul, and hip hop, illustrating the company’s commitment to expanding ballet’s traditional boundaries. Soloists Carly Greene and Micah Bullard demonstrated this fusion through fluid, rhythm-driven sequences paired with precise classical poses. The production’s lighting design, by Roma Flowers, complemented this approach by shifting between stark silhouettes and vibrant, colorful effects reminiscent of disco scenes.
The program also included a revival of George Balanchine’s “Donizetti Variations,” a brief 1960 piece with roots in European classical ballet. Performances by Kamala Saara and Kouadio Davis highlighted the company’s capacity to execute the intricate techniques and stylistic demands of Balanchine’s choreography. Critics noted, however, that while “Donizetti Variations” showcased technical skill, the piece’s lighthearted tone and dated elements resonated less effectively with contemporary audiences.
The centerpiece of the evening was John Taras’ 1982 interpretation of "Firebird," drawing from the original 1910 ballet by Michel Fokine to Stravinsky’s iconic score. Taras relocated the setting from a Slavic forest to a lush Caribbean environment, with vivid costumes and scenic design by Geoffrey Holder featuring tropical motifs. The narrative follows a man, portrayed by Derek Brockington, who receives a magical feather from the enigmatic Firebird, played by Alexandra Hutchinson. Together they confront an evil prince, enacted by Jhaelin McQuay, to protect a princess of otherworldly beauty, embodied by Kamala Saara.
The production captured both the timelessness of the original ballet and Taras’ distinctive choreography that bridges classical tradition with modern sensibilities. Hutchinson’s portrayal of the Firebird was praised for its blend of ethereal grace and sharp, birdlike gestures, while Brockington’s performance conveyed stoic heroism. The fairy tale concluded with the Firebird soaring above the stage, symbolizing triumph and renewal.
Saturday’s performance underscored Dance Theatre of Harlem’s ongoing relevance and artistic vitality, reinforcing founder Arthur Mitchell’s vision of ballet as an inclusive art form. The company’s blend of historic works and innovative choreography continues to challenge conventional perceptions of American ballet and highlight the contributions of Black dancers to the genre.