Cal Performances’ 2025–26 Dance Artists Share Highlights of Their Upcoming Performances
“Half affirming, half surprising, and entirely exciting!”
Each season, Cal Performances’ dance series presents a wide range of dance companies, and while our programming can be relied on to welcome return engagements with familiar favorites, we also take pride in introducing audiences to choreographers and companies who have not previously made it to Berkeley. As we considered the full range of dance offerings this season, we thought it would be helpful to hear directly from each troupe about one aspect of its upcoming campus visit that might be considered a company hallmark, something that loyal audiences have come to recognize and eagerly anticipate with each new production. We also asked them to identify an element of their upcoming performances that is new or unique, and that even longtime fans may not anticipate. We hope that this overview is half affirming, half surprising, and entirely exciting!
Steeped in a revered ballet tradition that dates to the court of Louis XIV, the stunning dancers of the Paris Opera Ballet meet the visceral and emotive choreography of London-based choreographer Hofesh Shechter in the North American premiere of a new evening-length work. Shechter is known for creating vivid, urgent cinematic tableaus in his acclaimed works, and his bold new creation has been envisioned especially for this exquisite company.
The familiar/trademark: The company shared, “Following the repertoire additions of The Art of Not Looking Back in 2018 and Uprising and In Your Rooms in 2022, Hofesh Shechter extends his collaboration with the Paris Opera by offering the Ballet’s dancers the experience of a new production, the first he has given to a company other than his own. This is an opportunity for him to continue working with performers he knows well, who display all their virtuosity in his choreographic universe.”
The new/unexpected: According to Paris Opera Ballet, “For this creation, Hofesh Shechter imagines a cabaret noir atmosphere, in which the dancers are accompanied by a live band. Red curtains, reminiscent of the velvet of the Palais Garnier auditorium, open and close in a mobile staging reminiscent of an offbeat cafe-theater.”
Contemporary dance and ancient martial arts combine in this award-winning collaboration between choreographer Sidi Larbi Cherkaoui, sculptor Antony Gormley, composer Szymon Brzóska, and 20 Buddhist monks from the Shaolin Temple in China’s Henan Province. Sutra explores the Shaolin kung fu tradition in the context of contemporary culture, inviting a cadre of modern-day practitioners to lend their skills—the flying kicks, backflips, and shadow-boxing practiced as part of their spiritual discipline—to a humorous fable about a European outsider learning about their monastery.
The familiar/trademark: Of the themes and incredible collaborations illuminated in this work, Sadler’s Wells shared that, as a company, it is a “world-leading creative organization dedicated to dance in all its forms. With over three centuries of theatrical heritage and a year-round program of performances and learning activities, it is the place where artists come together to create dance, and where people of all backgrounds come to experience it—to take part, learn, experiment, and be inspired. Its vision is to reflect and respond to the world through dance, enabling artists of all backgrounds to create dance that moves us and opens our minds, and sharing those experiences with the widest possible audiences—to enrich their lives and deepen their understanding of what it means to be human.”
The new/unexpected: When developing the choreography for Sutra, Cherkaoui worked with the monks to learn about not only kung fu, but also fascinating other traditions they had of embodying movement, which ultimately influenced the production’s incredibly unique choreography. Cherkaoui shared, “That very first time [I visited the temple], it was all about movement. Martial arts and Shaolin kung fu have movements, so I was just asking, what are the moves you have, and what’s the vocabulary? And then, from what they showed me, there were some things that I felt were really interesting, and others that I didn’t know how to approach. I loved their animal incarnations, when they’re being like a panther or moving like a snake. It’s real theater—and it’s like dance. When you’re doing Swan Lake, you have to believe you’re a swan. And so, when you have a martial artist who believes he’s an eagle, it’s the same, the same imagination.”
Blending illusion and acrobatics with a sense of whimsy and wonder, MOMIX’s Alice, created by company founder Moses Pendleton, features the bold athleticism and theatrical flair of the troupe’s celebrated dancers as they traverse a series of absurdist vignettes inspired by Lewis Carroll’s classic children’s novel, Alice’s Adventures in Wonderland. Because the story itself is so closely tied to transformation and defying-logic, it provides an incredible canvas to play with movement and illusion that is seemingly performed by magic!
The familiar/trademark: According to Moses Pendleton, “While I don’t intend to retell the whole Alice story, I do intend to use it as a taking-off point for invention. I’m curious to see what will emerge, and I’m getting curiouser and curiouser the more I learn about Lewis Carroll, who, like me, was a devoted photographer.”
The new/unexpected: Audiences may be surprised to learn that, per Moses Pendleton, “all of the stunts, tricks, and illusions are done by the eight company members—no additional help needed!”
Mark Morris Dance Group, one of the world’s leading dance companies today, has fostered a close relationship with Cal Performances, having first performed in Berkeley in 1987 and making annual visits since 1994. Though the company certainly represents one of Berkeley audiences’ favorite regular performers, Morris never fails to offer something fresh and exciting with each new visit. In this his latest creation, Morris looks upward for inspiration—at the Moon!—to explore mankind’s fascination with our constant celestial companion. Live and recorded music, from folk songs to pop hits to concert works, provide the sonic backdrop for MOON, a poetic and playful reflection on our attempts as earthlings to understand our enigmatic neighbor.
The familiar/trademark: MOON follows a long tradition of Morris productions in which the art engages with its subject in a creative way, without trying to force a specific interpretation. Per Morris, “MOON is a dance and music show built on thoughts and studies of our Moon. The source of so much mystery, curiosity, ritual, superstition, art, and fascination, there is a lot to celebrate and to puzzle over. Our Earth and its Moon are a match made in heaven, with our Moon as a dazzling accessory to Earth’s terrible beauty. Moon is credited with time and tide, fertility, power, and romance. The desire to touch the moon and know about it has always driven us, as has the compulsion to make contact with potential beings on other heavenly bodies. The famed, futile Golden Record which was thrown into space aboard Voyager in 1977 is a perfect example of our curiosity and enormous ego. I have used it and a variety of other materials—textual, visual, and musical—as sources of imagination in the construction of this piece. The Space Program, The Moon Landing, the 12 earthlings who have walked thereon…so many passes have been made at and beyond the moon, but the occasional Moon walk is not enough to satisfy our Earthly need to spread the news about ourselves and wait, no doubt forever, for a response. I hope to provide a possible way to observe and enjoy Moon and space, without understanding a thing.”
The new/unexpected: A special treat for the aesthetics of this particular creation, Morris shares, “MOON features stage projections by ‘the godmother of modern projection design,’ Wendall K. Harrington,” whose credits include sets for more than 35 Broadway shows and numerous prestigious awards.
It is impossible to overstate Martha Graham’s influence on dance in the past century. Her distinctive, groundbreaking movement technique has been carried in dancers’ bodies for generations; the works she commissioned have grown and multiplied over hundreds of performances; and her contributions to the art of stage design and dance production are countless. This season, the company returns to Cal Performances for the first time in more than a decade to celebrate its 100th anniversary with classic Graham works alongside newly commissioned dances by some of today’s most compelling choreographers.
The familiar/trademark: The company shared, “We are bringing three iconic Graham masterworks to Cal Performances—dances that are considered to be some of the greatest works of 20th century American art. Graham created Chronicle in 1936, the same year she turned down the Nazi’s invitation to dance at the Olympic Games in Berlin. With a cast of 11 women, it offers a powerful anti-war statement. Night Journey (1947) is Graham’s radical transformation of the Oedipus story, told through the memories of Jocasta, his wife and mother. And Appalachian Spring, probably Graham’s best known work, with its Pulitzer Prize-winning score by composer Aaron Copland, still resonates with American determination, optimism, and hope for the future. These timeless classics are brought brilliantly to life and relevancy by the current dancers of the Martha Graham Dance Company. They are among the most athletically powerful and expressive dancers on the planet. Audiences will see Graham’s famous physical vocabulary, the Graham Technique, with its essential moves—the ‘contraction and release’—performed by today’s leading experts in her style.”
The new/unexpected: According to the company, “Audiences may not realize that the current Martha Graham Dance Company performs stunning new works from some of today’s top choreographers alongside Graham classics. We are bringing a wonderful dance that we premiered in 2024 to Cal Performances: We the People by choreographer Jamar Roberts, with a commissioned score from Rhiannon Giddens. Rhiannon’s music has a traditional bluegrass sound and provides a toe-tapping backdrop for Jamar’s athletic, hard-driving movement. We are also dancing an even newer work, Cortege, which premiered in 2025 by choreographic duo Baye & Asa. These rising stars in the dance world have created a work for eight dancers inspired by Martha Graham’s own 1967 choreography in Cortege of Eagles. Intense, hyper-physical, and dramatic, Cortege is not to be missed. Audiences who don’t know the work of Baye & Asa will be excited to discover them.”
Visionary choreographer Kyle Abraham is known for telling stories at the intersection of Black and queer culture, reflecting on themes of love, isolation, and personal and social change. In February, Abraham brings his accomplished A.I.M to Berkeley for its eagerly anticipated Cal Performances debut, featuring three works danced to live music by a number of accomplished musicians.
The familiar/trademark: The company shared, “Kyle’s work has been a part of Cal Performances for some time. Audiences may recognize his name in pieces performed by Alvin Ailey American Dance Theater, including Another Night (2012), Untitled America (2016), and Are You in Your Feelings? (2022).” Regarding dances on this debut program, they shared, “Created as one of three repertory works during Kyle Abraham’s tenure as Resident Commissioned Artist at New York Live Arts from 2012–2014, The Gettin’ (2014) is a work for six dancers set to music by Grammy Award-winning jazz artist Robert Glasper and his trio, who reimagine Max Roach’s We Insist! Freedom Now Suite.” On the whole, “Abraham describes his movement vocabulary as ‘a postmodern gumbo,’ one with roots in social dance and a love for blending movement vocabularies including, but not limited to, ballet and contemporary dance.”
The new/unexpected: One exciting element on this particular program is the inclusion of live musicians. Per Kyle Abraham, Artistic Director, “Live musical performance adds dimension. Musicians make choices that allow the dancers to react in real time, making every performance unique and one of a kind.”
From its first public performances in 1958, to the premiere of the masterpiece Revelations in 1960, through the struggles of touring in the Civil Rights Movement, to the tragic loss of its founder in 1989—across so much social upheaval and cultural change, Alvin Ailey American Dance Theater has thrived as a model of Black resilience and unparalleled artistic excellence. With brand-new commissions from next-generation creators and beloved works by Ailey himself, this revered institution has embodied exceptional power, beauty, and grace each time they’ve made their annual visit to the Berkeley campus for the past 57 years.
The familiar/trademark: The company shared, “There are very few experiences in modern dance akin to the one shared by audiences watching Alvin Ailey American Dance Theater perform Revelations. Whether witnessing it for the first time or the hundredth, people feel the ballet’s communion with African American cultural heritage—its spiritual, uplifting power that speaks to people everywhere. The work’s three acts trace an arc from resilience to elation, and it is a hallmark of every Ailey performance to see audiences on their feet by the ballet’s curtain call.”
The new/unexpected: Per the company, “The 2025–26 season will mark Alvin Ailey American Dance Theater’s first under the new artistic directorship of Alicia Graf Mack, and she is bringing her unique perspective to bear on the Company’s program. Having danced with the Company for six years and acted as dean and director of the Juilliard Dance Division, her mandate is to bring Alvin Ailey American Dance Theater into the future, showing the Ailey dancers in new ways while honoring the Company’s historic past.” Though this will be her first Ailey Week at Cal Performances under her new title, Berkeley audiences have seen her dance with the Company many times throughout the years, and Cal Performances is thrilled to welcome her back in this new capacity!
The peerless Joffrey Ballet returns to Zellerbach Hall with a signature blockbuster work, Alexander Ekman’s daring, sensual, exuberant celebration of the traditional Scandinavian summer solstice festival. Dancers cavort in pastoral revelry as reality and fantasy blur in a joyous ode to the arrival of the summer season. A mind-bending trip to a surreal realm of earthly and supernatural delights, Midsummer features a score by composer Mikael Karlsson and features Swedish indie rock sensation Anna von Hausswolff, who performs live.
The familiar/trademark: The company shared, “Ekman’s ode to the longest day of the year follows a traditional Midsummer festival—from a passionate, lively celebration by day to a whirlwind dream by night. Ekman’s picturesque fusion of classical and contemporary ballet blurs the line between the real and the imagined, making audiences wonder, ‘Was it all just a dream?’”
The new/unexpected: “Alexander Ekman dares to be bold with Midsummer Night’s Dream, creating an astonishing dance-theater performance of tremendous theatricality and scale,” says The Mary B. Galvin Artistic Director Ashley Wheater, MBE. “Playing to the strengths of Joffrey company artists to convey the evolution of our art form, woven together with the trailblazing talents of Ekman’s creative team, Midsummer gifts audiences with an unforgettable experience.”
