Dance Theater of Harlem has revived its 1982 Firebird production, staging the Stravinsky classic in a Caribbean setting. Geoffrey Holder’s lush, tropical sets and costumes, reconstructed by his son Léo Holder and choreographer Carmen de Lavallade, bring a fresh visual palette to the ballet’s mythic narrative. The season launch opens on April 16 at New York City Center.

After a 20‑year hiatus, the company now lists 28 dancers, a jump from the 17‑member touring troupe of 2013. Executive director Anna Glass credits the revival to disciplined fundraising and a strategic partnership with the School of Dance at UNC, where former principal Endalyn T. Outlaw helped fill corps roles with students.

Holder’s design, described as an early example of Afrofuturism, repositions the Russian tale in a vibrant tropical forest, blending Martin Johnson Heade‑inspired landscapes with Stravinsky’s soaring score. Critics note the production’s bold visual language and tighter choreography, while audiences report a renewed emotional resonance that aligns with the company’s mission to broaden ballet’s cultural reach.

With the Firebird back in its repertoire, Dance Theater signals a steady growth trajectory and a commitment to artistic innovation. The revival also positions the company as a viable partner for future large‑scale productions, potentially attracting sponsorships and expanding its audience base beyond traditional ballet patrons.