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

2020/21 Season Update

With our highest priority focused on health, we have made the difficult yet necessary decision that our 2020/21 Season will not go on as planned.

A reimagined season will be announced in coming months.

Find out more

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

Watch our digitally streamed ballet performances with our Friday Night Spotlights series, and discover how Miami City Ballet’s Firebird and Nine Sinatra Songs went from studio to stage on our ‘making of’ online hubs.

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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