Robert Garland’s ballet “Return” marked the comeback of Dance Theatre of Harlem after a decade’s absence from Chicago. Created in 1999, this neoclassical funk ballet, with music by James Brown and Aretha Franklin, highlights Garland’s artistic vision. It was performed for one night at the Auditorium Theatre and began a season focused on North American dance.
Arthur Mitchell founded the Dance Theatre of Harlem in 1969, during the civil rights era. He started teaching ballet in a Harlem garage when Black dancers were rare in ballet. Although progress has been slow, Mitchell’s belief in ballet for everyone persisted. His company faced financial struggles but revived after a hiatus.
The company returned to Chicago in 2014, performing Garland’s “Return” and other works. Two years later, they reestablished themselves with socially charged pieces. Garland’s work blends classical ballet with soul and funk, exemplified in soloists Carly Greene and Micah Bullard’s performances. Their versatile movements mirror the origins of hip hop, transitioning to perfect pirouettes.
The production featured lighting by Roma Flowers, complementing the diverse styles. The dancers also performed Balanchine’s “Donizetti Variations,” showcasing their classical ballet proficiency. While some of Balanchine’s pieces show their age, the performances of Kamala Saara and Kouadio Davis stood out.
“Firebird,” created by John Taras in 1982, adds depth to the program. Originally choreographed by Michel Fokine in 1910, Taras moved the setting to a Caribbean locale, enhancing it with Geoffrey Holder’s exquisite scenic and costume designs. The narrative involves a man (Derek Brockington) who, with the help of a mystical Firebird (Alexandra Hutchinson), overcomes the Prince of Evil (Jhaelin McQuay) to protect his love.
Hutchinson’s portrayal as the Firebird was captivating, combining elegance with avian movements. The fairy tale concludes with a triumphant ending, as the Firebird aids the characters and eventually takes flight overhead.
The Dance Theatre of Harlem’s performance of “Firebird” remains a signature piece. Despite hints of its 1980s origins, the ballet transcends time. The choreography ties back to Fokine and the Ballets Russes. With the Dance Theatre of Harlem’s dynamic dancers, the ballet offers a transformative experience.
Lauren Warnecke reviews this performance. She highlights the historical and contemporary aspects of the Dance Theatre of Harlem’s work, emphasizing its enduring impact on ballet.