The Washington Ballet Announces 2nd Season Under Liang
By • June 9, 2025 0 169
“Dense with moments for the cast to shine in everything from solos to groups sections, if you were to offer up just one ballet to exemplify the breadth and beauty that is ballet, this would be in the running,” wrote Cleveland arts blogger (and former dancer) Steve Sucato in 2022 about Edwaard Liang’s “Tributary.”
Set to themes by Carl Czerny — pupil of Beethoven and teacher of Liszt — arranged by Danish composer Knudåge Riisager, the piece is part of a foursome on the Washington Ballet’s season-opening program, “Moving Forces.”
To be presented with “Tributary” from Oct. 24 to 26 in the Kennedy Center Eisenhower Theater: “The Times Are Racing,” a street-style “sneaker ballet” by New York City Ballet Resident Choreographer Justin Peck, with an electronica score by Dan Deacon; “After the Rain,” an intimate pas de deux by Peck’s NYCB predecessor Christopher Wheeldon (who won a Tony for “MJ the Musical”), danced to works by Estonian minimalist Arvo Pärt; and the meditative “Ave Maria,” choreographed by Complexions Contemporary Ballet co-founder Dwight Rhoden, with music by Baroque composer Giulio Caccini.
Prior to becoming the Washington Ballet’s fourth artistic director last year, Liang spent 11 seasons as artistic director of BalletMet in Columbus, Ohio, choreographing more than 20 world premieres for the company (including “Tributary”). Born in Taiwan and raised in Marin County, California, Liang was a soloist with New York City Ballet, then danced with Nederlands Dans Theater 1 and on Broadway in “Fosse” while embarking on a prolific career as a freelance choreographer.
The Washington Ballet’s artistic director, Edwaard Liang. Courtesy TWB.
The three productions that will follow “Moving Forces” in the Washington Ballet’s 2025-26 season are all story ballets: “The Nutcracker,” “Giselle” and “Cinderella.” Each will feature a large cast, as will “Tributary,” putting students from TWB’s Washington School of Ballet onstage with the dancers from the professional company.
Septime Webre, the Washington Ballet’s second artistic director — between founder Mary Day and Julie Kent, who preceded Liang — decided to set Tchaikovsky’s immortal Christmas Eve ballet in a Georgetown mansion, adding season-defying cherry blossoms and an appearance by George Washington. First presented in 2004, “The Nutcracker” will be performed this year from Nov. 29 to Dec. 28 in the Warner Theatre, 513 13th St. NW.
Another classic, “Giselle,” will be presented from Feb. 27 to March 8 in Sidney Harman Hall, 610 F St. NW. Inspired by works by Heinrich Heine and Victor Hugo, the ballet tells the story of a heartbroken peasant girl in medieval France who goes mad, dies and returns as one of the Wilis, spectral sisters who dance their lover-betrayers to death. Set by Jean Coralli and Jules Perrot to music by Adolphe Adam, “Giselle” was the talk of Paris in 1841.
The choreography was revised in later years by Russian Imperial Ballet Master Marius Petipa (original choreographer of “The Nutcracker”), whose brother Lucien had partnered Carlotta Grisi in the first performances. This restaging by Liang — described as a “haunting and immersive new vision” — makes use of more abstract scenery than in traditional productions and moves away from period pantomime and toward acting.
Billed as a “family-friendly finale to the season,” Liang’s “Cinderella,” set to the Prokofiev score — composed for the Bolshoi in the 1940s to accompany choreography by Rostislav Zahkarov — will be performed from May 14 to 17 in the Eisenhower Theater. A highlight of the production will be the costumes by acclaimed designer for ballet Judanna Lynn.
Although Alvin Ailey American Dance Theater has opted out of its annual visit, the Kennedy Center will welcome the Stuttgart Ballet (“Onegin,” Oct. 8 to 12); Cincinnati Ballet (“The Nutcracker,” Nov. 26 to 30); American Ballet Theatre (“The Winter’s Tale,” Feb. 11 to 15); San Francisco Ballet (“Mere Mortals,” May 27 to 31) and New York City Ballet (June 2 to 7).
