2024/25 Season

A thrilling delight for the senses, featuring five awe-inspiring programs; including three full-length ballets, two Company Premieres and two World Premieres. Subscriptions are on sale now.

Explore the Season | Subscribe Now

Spring Mix

The great works of Balanchine continue as a through-line for the season into the spring, paired with choreographers who were later influenced by his mastery of the form.

Mar 8 – 24 | Buy Tickets

Swan Lake

The original version of the world’s most famous ballet, Swan Lake, lovingly reconstructed by one of today’s most celebrated choreographers, Alexei Ratmansky.

Apr 18 – May 12 | Buy Tickets

Children’s Division

Register today for our Children’s Division classes, open to all children ages 3 – 8. A perfect way to begin to foster the love of dance in your little one.

Ages 3 to 8 | Register Now

Open/Adult Classes

We invite all dancers ages 14+ to enjoy a variety of dance classes as part of our Open/Adult Division. Our classes are a great way to experience MCB School with no long-term commitment.

Register Now

2023/24 PointePass Flex Pack

Experience the magic of ballet your way with PointePass. Get six tickets to be used however and whenever you want — you pick the ballet(s), date(s), theater(s).

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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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