A co-founder of Dance Theatre of Harlem was Arthur Mitchell (1934-2018). He was the first Black principal artist with the New York City Ballet, which was directed by George Balanchine. Mitchell left NYCB to challenge the world of ballet with an African American and racially diverse classically trained company, all with the full support of Balanchine, who choreographed several dances especially for the fledgling company. Their dancing was brilliant and disciplined – their “Firebird” was one of the most unforgettable experiences I have ever witnessed.

Fast forward to May 2026. Balanchine’s “Donizetti Variations” were infused with competence, but the dancers seemed constrained by the precision and delicacy required. In other words, the strength and exuberance of their athleticism seemed to inform each dance set. The multi-generational audience was politely enthusiastic in their applause. It seemed as though they endured an “eat your vegetables first” course before the good stuff would be served. I felt sad for classical ballet a la Balanchine, Fokine and Petipa. Yet, the energy, and yes, athleticism of the newer dances to follow (2024, 2025, 1999) earned the audience’s whoops and hollers mid-performance (a no-no in the old days). This enthusiasm may transform a younger audience into company-sustaining dance aficionados.

That evening, it was James Brown instead of J.S. Bach. His funkadelic rhythms and jabbing lyrics, accompanied by Aretha Franklin’s sublime voice in the crowd-pleasing medley “Return,” earned this New York Times comment: “a witty fusion of ballet technique and street gait whose irony toward rhythm-and blues had the audience in stitches.” Who could argue with that? These changes in the landscape of dance may keep DTH viable as a company for more years to come.