Exhibiting a dazzling combination of classical technique, graceful movements, and modern flair, the Harvard Ballet Company’s (HBC) fall production left the entire audience in complete awe. On Nov. 16 and 17, HBC ran two of their four performances of Dawn at the Loeb Drama Center, where the ballet dancers displayed the hard work and talent poured into the student-run show. The final two performances are on Nov. 21 and 22.
According to the HBC, Dawn is “defined as ‘the beginning of a phenomenon or period of time, especially one considered favorable.’” With this underlying thread, the performance highlighted the growth and renewal of HBC. According to co-director Paytom Thompson ’25, last spring’s HBC production was smaller than what the board and dancers had hoped for, but this semester, the company was able to obtain a larger theater space and revamp many of the ways its team is run. According to Thompson, this show represented “the rebirth of Harvard Ballet Company,” with the theme of dawn being “representative of the trajectory of the company.”
Preparation for the event began in June, when Thompson and her co-director Sedina Ackuayi ’25 brainstormed ideas on the use of professional choreographers, themes, tech, and publicity. Once the semester started, Thompson and Ackuayi met with the student choreographers, who employed their own creative visions to create the pieces brought to light at the show. Student choreographer Maya Shiloni ’26 reflected on her time working on the project: “This is the first time I have choreographed at Harvard, and it has been such a great experience. All the dancers are so talented and hardworking, making it easy to make a great piece with very little work.”
The resulting production consisted of thirteen pieces, displaying a mixture of contemporary elements and classical works. The opening piece, “Variations de Joie,” choreographed by American School of Ballet Teacher Charles McDaniel, employed a classical technique, intended to serve as “a celebration of the beauty of classical music and movement,” the program read. Next came “Poised,” a piece choreographed by Talia DeLeo ’25 that involved themes of girlhood, womanhood, strength, and frustration. One bit that I most enjoyed was “A Red Dawn,” choreographed by Maya Shiloni ’26. A duet, this part of the show was more intimate and intense, displaying a story of “coming together, even in the darkest of times.”
A major highlight of the production, both from the perspective of the audience and the production team, was the final piece: an excerpt from “Stars and Stripes,” initially created by renowned Russian choreographer George Balanchine. Known as the founder of American ballet, Balanchine choreographed the piece in 1958 as a commemoration of American values and community. Although Balanchine passed away in 1983, his iconic works continue to be performed regularly.
Incorporating this work into Dawn was no small feat: all Balanchine ballets are owned by the George Balanchine Trust company and require licensing to perform. HBC collaborated with the trust and worked with a professional instructor who taught the piece to all dancers involved in the number. Renting costumes from Ballet West, Harvard Ballet executed the piece as Balanchine intended.
According to Thompson, working with the Balanchine Trust was one of the most rewarding parts of serving as director. “This ballet is a really unique experience and not something that’s…I think ever been done by a student group at Harvard,” Thompson commented.
As someone with limited experience watching ballet, I found the show to be incredibly beautiful. One aspect that most struck me was the diversity of emotion and style displayed in each piece. While some works were slower and softer, others were more dark and fierce. The costume design and lighting choices also added to my viewing experience, with different performances presenting distinct looks. Dancers were dressed in outfits ranging from butter yellow leotards and navy blue mesh ensembles to all-black catsuits, with a mixture of simple backdrops and blaring strobe lights behind them.
Thompson reflected on her role as both a dancer and director: “Prior to college, I had never held an administrative role in any of my ballet schools or companies…and it can get a little stressful, for sure, because not only am I worrying about myself and my own dancing, but I’m also worrying about everyone else in the production.”
Although the position was quite demanding, it was also extremely satisfying and exciting to Thompson: “What makes Harvard Ballet so fulfilling is that not only am I dancing and doing my favorite thing in the world on stage for a huge audience, but I also know that I had such an integral part in making the production happen and that I’m contributing to something that’s much bigger than just myself…and I think that’s a really special thing that you don’t usually get to experience in your life as a pre-professional ballet dancer,” she stated.
The 16 executive board members and 51 company dancers composing this season’s HBC did an inspiring job at bringing the vision of Dawn to life. The creativity, dedication, and hard work of all individuals involved culminated in a production emulating elegance, vitality, and passion, and I eagerly look forward to HBC’s future performances.
Sophie Dauer ’27 (sophiedauer@college.harvard.edu) writes Arts for the Independent.