A Boston premiere of Jerome Robbins’ elegant, signature ballet, Dances at a Gathering is about human relationships and emotions. Set to music by Chopin, played by a solo pianist on stage, the entire cast of 10 dancers each represent different personalities as they flow in and out of graceful interactions with one another.

On creating sense of community: this ballet “should look like a group of friends together, just dancing,” says Robbins Rights Trust stager Jean-Pierre Frohlich. “Simple as that. And that’s what’s so beautiful about it.” Robbins said there’s no story; the dancers are merely being themselves—but they are also, as writer Deborah Jowitt put it, “members of a community that lives in Chopin’s music.”

“A ballet is a ritual of exorcism: it is achieved through the magic of movement. Something about our existence is perceived and felt and translated by the choreographer with the help of the dancers. The rite is formed and conditioned within a strict technique and disciplined craft. It is heightened and made larger than life by music, light, color; it finally is submitted to the collective ceremony of theatre and comes to its fulfilment under the darkness of the house, infused with the attention of assembled individuals enrapt in watching a part of their existence revealed and identified and relived.”
–Jerome Robbins

William Forsythe, known for his revolutionary and influential approach to choreography, redefined classical ballet and expanded its boundaries, earning him recognition as one of the most visionary choreographers of his time. Herman Schmerman embodies his signature style—vivacious and technically difficult dancing paired with wit and playfulness. The ballet is set to “Just Ducky” by Thom Willems and is punctuated with dancers in vibrant yellow Versace costumes.

“I first heard that phrase [‘Herman Schmerman’] used by Steve Martin in the film Dead Men Don’t Wear Plaid. I think it’s a lovely title that means nothing. The ballet means nothing, too. It’s a piece about dancing that will be a lot of fun. It’s just…talented dancers dancing around—and that’s good, isn’t it?”
–William Forsythe

“I want people to look forward to ballet, not endure it.”
–William Forsythe

William Forsythe is an internationally renowned American choreographer known for his innovative approach to ballet. His work blends traditional technique with contemporary movement, pushing the boundaries of dance. Forsythe is credited with revolutionizing ballet, and has been hailed as “the most influential practitioner of the art form since Balanchine” (The New York Times).

Set to the Auerbach’s dystopic 24 Preludes for violin and piano selection, Lia Cirio’s second world premiere for Boston Ballet is both personal and haunting. With a live pianist and violinist, dancers move in and out of delicate formations in pale gray costumes in front of a custom life-size sculpture by John Farrell. The ballet comes together as a stunning portrayal of life’s delicate nature.

“I am increasingly drawn to art and dance that challenge my thinking and move me through their interpretation of choreography and embodiment of music. I am deeply aware of Boston Ballet dancers’ immense talent, which I witness daily. It is a true honor to create with them, and I hope our collaboration brings out the best in us all. This piece, my second for the Boston Ballet main stage, reflects everything I’ve learned as a professional dancer.”
–Lia Cirio

“While it is neo-classical in technique, it is also distinctly my own, infused with my quirks, thoughts, and inspirations. I was initially drawn to Auerbach’s preludes for their emotional dynamism, where so much is expressed in mere moments. My set, reminiscent of paper sculptures, embodies both vulnerability and strength, qualities that drive my choreography. Additionally, I am inspired by an end-of-the-world, dystopian atmosphere, adding another layer to this work.”
–Lia Cirio

Lia Cirio joined Boston Ballet II in 2003 and was promoted to the main company in 2004. She was made a principal dancer in 2010. In 2022, Cirio had her Boston Ballet mainstage choreographic debut and premiered Chaptered in Fragments for the ChoreograpHER program. Her second world premiere for Boston Ballet After premiered on October 24, 2024.