Keep The Power Of Dance Alive

In good and dark days, the arts are a salve, providing joy, inspiration, comfort, and healing. And that’s certainly something we all need right now. Please consider making a contribution today to the Dancer Support Fund.

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Online Classes & More

A collection of essential activities for dance lovers, including online dance classes led by MCB dancers or MCB School Faculty Herman Payne.

Explore dance-lovers kitTake a class

The Nutcracker in the Park

Experience George Balanchine’s The Nutcracker® in the Park Dec 18 – 31 from your socially-distanced pod on the lawn. This is your beloved Nutcracker reimagined for the outdoors… The season opens with a free performance for essential workers.

Buy Tickets | Free Performance

Transforming Lives Campaign

Your generous support is critical to keeping Miami City Ballet’s artistic, educational and community engagement programs growing.

Make a Gift

Behind the Ballet

Discover how Miami City Ballet’s Firebird and Nine Sinatra Songs went from studio to stage on our ‘making of’ online hubs, including interviews with dancers and creatives.

Watch Online

Enews Sign Up

Be the first to hear the latest MCB news and enjoy special offers, invitations and discounts.

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Location courtesy of Four Seasons Hotel at the Surf Club
Photo © Karolina Kuras

Charleston City Paper: Opening Night Preview

“…this production, moderated by the Miami City Ballet Artistic Director Lourdes Lopez, will include discussion and film in addition to exquisite performances, making it a Spoleto-exclusive, don’t-miss event celebrating Robbins’ remarkable life and work.”

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Fjord Review: Dancing on the Edge

“Lopez does a stupendous job of keeping the flame of Balanchine alive but, as this program demonstrated, she also looks to the future and makes all the right choices in enriching the company’s repertory with the very best choreography of today.”

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Miami Artzine: Program Four Review

“Circles became straight lines, canons twirled to unison, out of nowhere, a dynamic series of turns came right down the middle of the stage. There was a playfulness in the childlike formations, hops and skips, but there was no subtlety in the demands of the piece.”

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