Dance Theatre of Harlem Makes an Epic Return to the Stage in DC Featuring “The Firebird”
Written by K. Harley Arthur Mitchell—a dancer, legend, and one of the most influential figures of the 20th century—changed the course of history in 1969 alongside his partner, Karel Shook, by founding one of the most prestigious dance ensembles the world has ever known: the Dance Theatre of Harlem. Mitchell transformed the time he spent as the New York City Ballet’s first African American dancer under the tutelage of George Balanchine into a remarkable display of color and charisma in a classical art form.
On Sept. 25 and 26, the National Theatre in Washington, D.C., opened its doors to the Dance Theatre of Harlem, hosting the company's epic return after 25 years of performing in the District. They brought the beloved story ballet The Firebird, along with classical repertoire and signature pieces choreographed by Artistic Director Robert Garland, to the stage.
The legacy that Arthur Mitchell established continues to thrive in both Harlem and the communities they serve, on national stages and at large. Both nights, the house filled with patrons, students, family, and friends who came to see one of the most talked-about pieces of work in their repertoire. The legendary tale was reimagined in collaboration with Trinbagonian producer and designer Geoffrey Holder, who was commissioned to design the costumes and set.
The mere thought of a Black, feminine, mystique-like character fluttering in flames across the stage was a sight I had to see.
This striking portrayal of the originally conceived Russian folktale takes audiences on a journey of lush Caribbean dreamscapes infused with an array of vibrant color, rhythm, and spirit.
Washington Performing Arts Executive Director Jenny Bilfield reflects on a long-standing history of partnership and community advocacy with the National Theatre, which has made performances like these possible since 1935. With pride, she stepped in to perform what she called "a Herculean lift, to ensure that an extraordinary weekend was a success."
This performance tour in D.C. was about more than what took place on stage. It was a time of unity, connection, and collaboration. The company was founded on merit and volunteerism, featuring give-back initiatives such as community outreach days where the public has an opportunity to directly engage with dancers, learn new moves, and have fun. I had a chance to speak with Principal Ballerina Alexandra Hutchinson, a native Washingtonian who played the starring role of the Firebird during a workshop on National Dance Day.
Q: What does it feel like to bring your hard work home to family and friends?
"It feels like a dream," Hutchinson says. "My entire family will be there, including my 92-year-old grandmother. To be returning to my roots is such a full-circle moment, and I'm grateful." She credits her early inspiration to another Black ballerina, Akua Parker, a former principal dancer with the Alvin Ailey American Dance Theater.
The artistic brilliance that the Dance Theatre of Harlem displays serves as a reminder of what Black excellence is.
Hutchinson is often accompanied by her partner, superb male dancer Derek Brockington, who knows how to drape a woman's body and own the moment as a solo performer himself. In fact, the entire ensemble is worth mentioning; many of the dancers have not only studied at the multicultural institution but have excelled tremendously in the fine arts and academia, and have outperformed their peers in rigorous competitions such as the Youth America Grand Prix (YAGP).
Although the ensemble demonstrates technical precision, athleticism, and dexterity in works like Donizetti Variations, what truly sets the Dance Theatre of Harlem apart is their essence. When it comes to classical ballet, they shine—all while putting a modern spin on it.
Choreographer Robert Garland offers his signature piece entitled Return, which puts audiences on the edge of their seats with funky sounds from James Brown and soul-binding notes sung by the Queen of Soul, Aretha Franklin, featuring songs like "Baby, Baby, Baby," "I Got the Feelin'," and "Call Me." It is the perfect blend of sensuality, love, and friendship wrapped in a harmonious mix of duets and trios, where bodies unfold, reach, and blossom beautifully in silhouette.
And the finale is a whole party. The Dance Theatre of Harlem's Soul Train line is definitely one to be remembered.
During intermission, as the audience eagerly awaited being transported into a timeless world of beauty, enchantment, and surrealism, I had a moment with one of the company's most accomplished and seasoned dancers, Ingrid Silva, who is making her choreographic debut in the dance world while navigating motherhood.
It was truly an inspiration to see the growth and evolution of dancers from all walks of life coming together to celebrate this historic moment.
When the lights dimmed and the crowd hushed, there were no more words to be said—only to witness the unfolding of a cultural vision that blends unique storytelling aesthetics from the African diaspora with that of Europe and Russia in an unforgettable tale told by beautiful Black dancing bodies.
By the end of the performance, the entire theater was on its feet to applaud the cast, hailing a mythical creature suspended in mid-air. The Firebird dazzled in shades of red, orange, and yellow, crowned with her signature piece: the fiery red feather.
Two nights is just not enough for us to give the company their flowers, but they are spearheaded by Anna Glass, a devote sista from Detroit who is determined to amplify Black voices—so I know we'll see and hear of great things.
The Dance Theatre of Harlem, affectionately named an American Cultural Treasure by the Ford Foundation, will continue to headline theaters, adorn stages, and provide an upstanding institution for the next generation to study and train in dance.
As supporters of the fine arts, all we have to do is keep showing up.
Made possible by: The University of North Carolina School of the Arts
The Firebird Suite understudies: Ariana Dickerson and Micah Bullard
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