Let the glow of golden hour wash over you in this radiant program, blending timeless classics with fresh perspectives.

Jerome Robbins’ Moves flips the script on ballet with choreography performed in total silence, highlighting pure movement in its rawest form. Durante Verzola’s World Premiere, set to George Gershwin’s irresistible jazz rhythms, is filled with playful, captivating energy. Driven by the legendary music of Duke Ellington, Stephanie Martinez’s World Premiere brings her distinctive voice to the stage with a style that’s both powerful and deeply human. And the company premiere of Paul Taylor’s Cloven Kingdom turns the spotlight on the many sides of human nature, all set to a surprising score that mixes classical music with a touch of untamed wild.

Jerome Robbins’ Moves strips away the usual elements of ballet—costumes, sets, and music—to focus entirely on the raw power of movement. The dancers themselves generate the sounds, adding an unexpected layer of intensity to this minimalist piece. Without the usual musical cues or scenic distractions, Moves invites the audience to experience the dance purely for what it is: the movement itself. By removing external influences, Robbins creates a space where the audience can fully engage with the choreography, responding directly to the gestures, energy, and curiosity of the dancers. It’s a bold exploration of the connection between movement and perception, where the dance speaks for itself.

Durante Verzola’s World Premiere, set to George Gershwin’s irresistible jazz rhythms, is filled with playful, captivating energy.

Driven by the legendary music of Duke Ellington, Stephanie Martinez’s World Premiere brings her distinctive voice to the stage with a style that’s both powerful and deeply human.

“Man is a social animal.” - Spinoza

Beneath our polished exteriors lies something more primal—an untamed nature that refuses to be ignored. Set at a grand cotillion ball, this work begins with high society in full display: men in elegant tailcoats, women in flowing gowns and mirrored headpieces. A baroque score intertwines with urgent, percussive 20th-century music, echoing the tension between refinement and instinct.

As the dance unfolds, civility unravels. The women plant seeds and give life, while the men’s tails become something more than fabric. They prowl on all fours, their movements evoking the primal ancestors from whom we’ve evolved. Totemic friezes suggest a time when instinct ruled over etiquette. Though the piece closes in triumph, social order seemingly restored, one truth lingers—we are not separate from animals. We are animals.