Few choreographers have explored the complexities of human relationships through movement as eloquently as Jerome Robbins. At the Ahmanson Theatre, Ballet Festival: Jerome Robbins, curated by New York City Ballet principal dancer Tiler Peck, opened The Music Center’s 2026–27 Glorya Kaufman Presents Dance season with an engaging tribute to one of America’s most influential choreographers. A Joyce Theater production, the evening brought together dancers from leading companies to illuminate the range of Robbins’ artistry, from classical elegance and playful romance to the more elusive emotions of love and longing.
The program opened with Four Bagatelles, performed by New York City Ballet’s Emma Von Enck and David Gabriel. Their delicate precision and beautifully synchronized movements evoked the enchantment of a music box, as though two porcelain figurines had suddenly come to life. A striking contrast followed with Concertino, set to Igor Stravinsky’s rhythmic score. Taylor Stanley, Dominika Afanasenkov, and Aaron Sanz, dressed in minimalist white, transformed the stage into a study of geometry and motion. Their sharp lines and intricate interplay revealed a more experimental side of Robbins, with Afanasenkov particularly compelling in her fluidity and commanding presence.
“Peck’s thoughtful curation revealed Robbins’ remarkable ability to move between classical formality, modern invention, and emotional intimacy.”
The evening’s most joyous moments came with Other Dances, performed by Peck and Roman Mejia to a selection of Chopin compositions played live onstage. Dressed in soft shades of lilac, the pair moved with a delightful combination of elegance, spontaneity, and humor. Peck’s effortless musicality and Mejia’s exuberant charm made the duet feel like an affectionate conversation. At one point, as Mejia lifted Peck high above his head, her flowing skirt unexpectedly covered his eyes. Without missing a beat, she swept the fabric aside, and the two exchanged amused smiles. The incident perfectly captured the spirit of their partnership, two gifted dancers finding genuine pleasure in the act of dancing together. The audience responded with a standing ovation.
The evening concluded with In the Night, Robbins’ intimate exploration of romantic relationships, performed by three couples to Chopin’s nocturnes. Against a darkened backdrop illuminated by tiny lights resembling a star-filled sky, the ballet unfolded through three distinct encounters, each revealing a different emotional landscape. After the buoyant charm of Other Dances, its shifting expressions of tenderness, longing, and tension brought the program to a contemplative close.
Peck’s thoughtful curation gave the evening a satisfying dramatic progression, revealing Robbins’ remarkable ability to move between classical formality, modern invention, and emotional intimacy. By bringing together artists from several distinguished dance companies, she created a celebration of his legacy that felt both respectful and vibrantly alive. Ballet Festival: Jerome Robbins offered a reminder that the most expressive choreography does more than display technical brilliance. It allows us to recognize something of ourselves in the poetry of movement.
— Rosane Grimberg
Ballet Festival: Jerome Robbins | Glorya Kaufman Presents Dance at The Music Center
Ahmanson Theatre, 135 N. Grand Avenue, Los Angeles, CA 90012
October 23–25, 2026
Information: www.musiccenter.org
