It’s a big build up to “Firebird,” which is the undoubtable standout of the night. Micah Bullard, as the young man—dressed in little else but a sash and shorts—is a fine and princely dancer, carrying himself throughout with grace and openness. And Ariana Dickerson, as the titular Firebird, practically vibrates with the intensity of her character. Hers is a flighty bird, whose arms shudder upon her capture. Her embodiment is reflected in so much more than the choreographed, arched-back leaps and quick bourrées. It’s the way she carries herself, even through to the curtain call.

Delaney Washington, as the Princess of Unreal Beauty, is serene–dancing on pointe while her fellow “Beautiful Maidens” remain on flat, weaving through one another and floating in breezy temps de flèche. It is worth noting the standout original costumes and scenic design by Geoffrey Holder, which render “Firebird” into a mystical and entrancing world.

By the time that Bullard faces off with the “Creatures of Evil” and the “Prince of Evil,” it’s clear what outstanding potential Dance Theatre of Harlem as it enters–we can hope—a new golden age. The company borrowed students from the University of North Carolina School of the Arts to fill out the corps de ballet, and the effect is stunning. The battle scene, busy and bustling, is a thrill to watch, as the creatures tumble and jump in clusters, and Dickerson’s entrance into the action is enthralling. 

It’s hard not to feel emotional during the apotheosis—particularly with thanks to Jeri Lynne Johnson’s excellent conducting of the Gateways Festival Orchestra—as peace is restored to the fantastical kingdom, and Dickerson, now wearing the iconic pair of wings that were on display in the lobby, rises upward. 

What a loss for the dance world that this “Firebird” was tucked away from the stage for so long–and what a gift for it to have returned. Perhaps, if we’re lucky, this is just the start of the company’s revivals; I, for one, am hoping for the return of “Creole Giselle.”