Dance Theatre of Harlem
Detroit Opera House
Detroit, Mich.
Nov. 15, 2025
Detroit favorite Dance Theatre of Harlem returned to the Detroit Opera House for a mixed-repertory program that featured the anticipated return of “Firebird.” Choreographed by John Taras in 1982, set to the 1910 Igor Stravinsky score, this production was the company’s first performance of the work in 20 years and their ninth visit to the Detroit Opera House.
The story is based on a Russian folktale. Our protagonist, a young man danced by Derek Brockington in the Saturday performance, is on a hunt to catch one of the mythical firebirds. After catching and then releasing her, our firebird, Alexandra Hutchinson, leaves him with one of her magical feathers, enabling him to call her when needed for help. He encounters a group of maidens, winning over the “Princess of Unreal Beauty’ (Kamala Saara) whom he then rescues from the evil prince Jhaelin Mcquay and his monsters with the assistance of the firebird.
DTH’s production was set in the Caribbean with colorful, tropical costumes and was my first time seeing “Firebird” in any capacity. The performance didn’t disappoint. Hutchinson’s firebird was bold and powerful, capturing the sharp, tic-like movements of a bird, but a determined one on a mission. Her descension from the ceiling was a majestic, satisfying finale to the performance, topping a grand, colorful, tableau as the cast filled the stage.
Mcquay’s Prince of Evil was another standout performance among an incredible cast of dancers. His villain was over the top, a fantastic indulgence in the fun of being a bad guy. With brown costumes marked with the warning, bold eye patterns of tropical animals, his army of monsters filled the theater with a powerful intensity as they descended downstage en masse.
Accordingly, the costumes alone – designed by Geoffrey Holder – were a standout of the show. The Firebird’s vibrant red, feathered costume and dramatic red eye make-up – which brought “flames” from her nose to her temples – captured the bird’s fiery nature and intensity, seen from the back of the house. The princess and her maidens wore colorful loose flowing skirts with nude illusion tops that gave the costumes a Caribbean flare.
The first act of the show featured modern recent DTH works, including Robert Garland’s “Nyman String Quartet No. 2,” performed to music by Michael Nyman, Jodie Gates’ “Passage of Being,” performed to music by Ryan Lott, Rob Moose, Son Lux and yMusic” and Robert Bondara’s “Take Me With You,” performed to Radiohead’s “Reckoner.”
All were lovely. I particularly liked the opening “Nyman String Quartet No. 2,” which featured 10 dancers, women donned in pink and black-striped leotards and men in a blue and black-striped equivalent. The work was both playful and chill, a mix of classic ballet steps with cheesy, modern dance moves and fast walks. The movements within the larger work featured a range of smaller groups, plus powerful standout soloist Kouadio Davis, who at times danced with his own shadow, which was fascinating to watch.
With a vibrant production of “Firebird” paired with more recent works, DTH’s Detroit Opera House performance encompassed a range of emotion, intensity and dance styles. It was wonderful evening of dance and theater and a welcome reminder of why the company is a beloved local favorite.
