Tchaikovsky’s iconic score opens the door to an entirely reimagined world: vivid light design, illuminated costumes, and world-class dancers from around the globe transform the classic ballet into a mesmerizing visual experience.
This is more than a performance — it’s an immersion into a story of love and magic, told through light, movement, and music. Each act unfolds like a living art installation, where timeless tradition meets bold contemporary design.
Discover Swan Lake in a whole new light — a legend reborn with breathtaking imagery and emotional power.
Tickets are now on sale — reserve the best seats early.
Ms. Diniz was Co Artistic Director of Jazz Choreography Enterprises and has been commissioned by Jacob’s Pillow, St. Louis Ballet, the Ailey BFA program, Stars of American Ballet, Ballet Hartford, Central Utah Ballet, Jamaica Center for Arts and Learning, Accent Dance NYC, AVID Dance, Woman in Motion, East Coast Contemporary Ballet, Revolve Dance and Earl Mosley’s Diversity of Dance, among others. She will choreograph Ballet Excel Ohio’s gala in 2026 with a new work for NYCB’s Daniel Ulbricht and Indiana Woodward. She choreographed the musicals ‘My Way,’ ‘On the Air,’ Off Broadway’s ‘An Unbalanced Mind,’ New York Circus Project’s ‘Hamlet,’ showcases at AMDA and has served as Associate Choreographer for Broadway’s Lorin Latarro.
To bring back classic musical theater in a big way, revamping, refining and rediscovering it for our generation, Steps Ahead is a program featuring intentional storytelling through technical and athletic dance. With an extraordinarily talented cast, the choreography shines a specific light on female identifying artists; they impressively execute roles and dance breaks with utmost energy and skill, entertaining and engaging all audiences and equalizing the theater landscape. Acknowledging and appreciating the craft’s breadth, the repertory excitingly ranges from more traditional tunes of eras past to the contemporary Broadway melodies of today.
This residency at BMCC Tribeca PAC is part of the CUNY Dance Initiative (CDI), which receives major support from The Howard Gilman Foundation, George S. Kaufman Charitable Foundation, and The Mertz Gilmore Foundation. Additional support is provided by the SHS Foundation, The Gladys Krieble Delmas Foundation, and the Harkness Foundation for Dance. CDI is spearheaded by The Kupferberg Center for the Arts at Queens College. www.cuny.edu/danceinitiative
Ms. Diniz was Co Artistic Director of Jazz Choreography Enterprises and has been commissioned by Jacob’s Pillow, St. Louis Ballet, the Ailey BFA program, Stars of American Ballet, Ballet Hartford, Central Utah Ballet, Jamaica Center for Arts and Learning, Accent Dance NYC, AVID Dance, Woman in Motion, East Coast Contemporary Ballet, Revolve Dance and Earl Mosley’s Diversity of Dance, among others. She will choreograph Ballet Excel Ohio’s gala in 2026 with a new work for NYCB’s Daniel Ulbricht and Indiana Woodward. She choreographed the musicals ‘My Way,’ ‘On the Air,’ Off Broadway’s ‘An Unbalanced Mind,’ New York Circus Project’s ‘Hamlet,’ showcases at AMDA and has served as Associate Choreographer for Broadway’s Lorin Latarro.
To bring back classic musical theater in a big way, revamping, refining and rediscovering it for our generation, Steps Ahead is a program featuring intentional storytelling through technical and athletic dance. With an extraordinarily talented cast, the choreography shines a specific light on female identifying artists; they impressively execute roles and dance breaks with utmost energy and skill, entertaining and engaging all audiences and equalizing the theater landscape. Acknowledging and appreciating the craft’s breadth, the repertory excitingly ranges from more traditional tunes of eras past to the contemporary Broadway melodies of today.
This residency at BMCC Tribeca PAC is part of the CUNY Dance Initiative (CDI), which receives major support from The Howard Gilman Foundation, George S. Kaufman Charitable Foundation, and The Mertz Gilmore Foundation. Additional support is provided by the SHS Foundation, The Gladys Krieble Delmas Foundation, and the Harkness Foundation for Dance. CDI is spearheaded by The Kupferberg Center for the Arts at Queens College. www.cuny.edu/danceinitiative
Dr. Chloé Roberts is a choreographer and scholar whose work examines the history of power, labor, gender, and the law through contemporary performance. Her practice spans choreography, research, education, and interdisciplinary collaboration, engaging historical and theoretical frameworks to interrogate how bodies are shaped by cultural expectation and institutional systems. She was a 2021 Franco-American Fulbright Scholar, is a certified Luigi Jazz Technique teacher, and the recipient of the Dance Lab New York Production Prep Fellowship. She recently premiered a new evening length work titled PEOPLE at Arts on Site in NYC to sold out audiences. She holds a PhD from the University of California, Santa Barbara, and is a faculty member at Steps on Broadway NYC. Recent performance work includes The Today Show, Dance Lab New York, chor. Phil Colgan, Sarah Parker, and Niani Feelings. Photo: Jordan Lombardi
Sorcière integrates choreography, archival research, and feminist inquiry to examine how women’s bodies have been regulated, punished, and mythologized across history. Emerging from my doctoral research on early modern witchcraft prosecutions, the project investigates how legal and religious systems constructed the figure of the “witch” to discipline nonconforming bodies. It asks how histories of accusation, shame, and resistance persist in the present, and how they are carried in the contemporary body. The work takes the form of a live dance performance The piece follows the structure of a domestic tragedy, charting the evolution of a witchcraft trial from accusation to execution. Performed by an ensemble of ten dancers, Sorcière features characters inspired by historical trial participants, including the accused witches, accusers, judge, and townspeople, alongside figures drawn from early modern confessions such as the Devil, demons, healers, and alchemists. While the figure of the witch is often feminized, the work also examines the persecution of men, using the gendered distinction between sorcier and sorcière to explore how belief and gender intersect in systems of punishment.
This residency at BMCC Tribeca PAC is part of the CUNY Dance Initiative (CDI), which receives major support from The Howard Gilman Foundation, George S. Kaufman Charitable Foundation, and The Mertz Gilmore Foundation. Additional support is provided by the SHS Foundation, The Gladys Krieble Delmas Foundation, and the Harkness Foundation for Dance. CDI is spearheaded by The Kupferberg Center for the Arts at Queens College. www.cuny.edu/danceinitiative
Dr. Chloé Roberts is a choreographer and scholar whose work examines the history of power, labor, gender, and the law through contemporary performance. Her practice spans choreography, research, education, and interdisciplinary collaboration, engaging historical and theoretical frameworks to interrogate how bodies are shaped by cultural expectation and institutional systems. She was a 2021 Franco-American Fulbright Scholar, is a certified Luigi Jazz Technique teacher, and the recipient of the Dance Lab New York Production Prep Fellowship. She recently premiered a new evening length work titled PEOPLE at Arts on Site in NYC to sold out audiences. She holds a PhD from the University of California, Santa Barbara, and is a faculty member at Steps on Broadway NYC. Recent performance work includes The Today Show, Dance Lab New York, chor. Phil Colgan, Sarah Parker, and Niani Feelings. Photo: Jordan Lombardi
Sorcière integrates choreography, archival research, and feminist inquiry to examine how women’s bodies have been regulated, punished, and mythologized across history. Emerging from my doctoral research on early modern witchcraft prosecutions, the project investigates how legal and religious systems constructed the figure of the “witch” to discipline nonconforming bodies. It asks how histories of accusation, shame, and resistance persist in the present, and how they are carried in the contemporary body. The work takes the form of a live dance performance The piece follows the structure of a domestic tragedy, charting the evolution of a witchcraft trial from accusation to execution. Performed by an ensemble of ten dancers, Sorcière features characters inspired by historical trial participants, including the accused witches, accusers, judge, and townspeople, alongside figures drawn from early modern confessions such as the Devil, demons, healers, and alchemists. While the figure of the witch is often feminized, the work also examines the persecution of men, using the gendered distinction between sorcier and sorcière to explore how belief and gender intersect in systems of punishment.
This residency at BMCC Tribeca PAC is part of the CUNY Dance Initiative (CDI), which receives major support from The Howard Gilman Foundation, George S. Kaufman Charitable Foundation, and The Mertz Gilmore Foundation. Additional support is provided by the SHS Foundation, The Gladys Krieble Delmas Foundation, and the Harkness Foundation for Dance. CDI is spearheaded by The Kupferberg Center for the Arts at Queens College. www.cuny.edu/danceinitiative