Since 2010, a group of 280+ world-class artists have collaborated using BalletCollective's signature interdisciplinary process to create a repertory of 20+ ACCLAIMED ballets. 

The works listed here are available for booking and touring.
Please contact Cara Lonergan at cara@balletcollective.com with inquiries.

InterBlack Exit

(2024) 22 minutes. 7 dancers. Choreography Houston Thomas, Recipient of BalletCollective’s 2024 Commission for Developing Choreographers. Composer Jonathan Bingham. Inspired by an original multimedia work by cultural practice architect Mario Gooden. Lighting Design Ben Rawson, Costumes designed by Mario Gooden. Costumes built by Sharone Malka

Mario grounded their concept, “thinking about architecture as a space for liberation, and [asking] how one practice[s] liberation within architecture and within dance,”

Love Me While I'm Here

(2023) 18 minutes. 5 dancers. Composer Robert Honstein. Choreography Omar Román de Jesús, Recipient of BalletCollective’s 2023 Commission for Developing Choreographers. Inspired by visual artist Kathrin Linkersdorff. Lighting Design Ben Rawson, Costumes by Karen Young

“Graceful and mesmerizing like leaves cascading from a tree…Effortlessly intertwining” -Six Degrees Dance

The Night Falls

(2023) The Night Falls is an evening-length work of dance-driven music theater choreographed and directed by Troy Schumacher (NYC Ballet/BalletCollective), with book and lyrics by Karen Russell (Swamplandia!), music and lyrics by Ellis Ludwig-Leone (San Fermin).

Staged for 9 dancers, 8 singers, and musical ensemble, 90 minutes with one intermission. Featured in The New York Times, Esquire Magazine, Dance Informa, The Dance Enthusiast, The New Yorker and more. thenightfalls.net

"The elaborate production is masterfully directed, written, designed and composed... a parable for our time." - The Dance Enthusiast

"Ingenious, gorgeous." - The New Yorker

"The Night Falls tells a bold, timely story." - New Jersey Arts

The Past Delivers

(2024) 18 minutes. 4 dancers. Choreography Troy Schumacher. Composer The Westerlies. Inspired by a commissioned painting by visual artist Jordan Bennett. Lighting Design Ben Rawson, Costumes designed by Victoria Bek in collaboration with Jordan Bennett and Troy Schumacher

“The Past Delivers speaks to intergenerational connections, mirrors, and how transitions force us to bravely invent and reinvent one’s self. Part reflective, part kinetic, The Past Delivers begins slightly melancholic only to see the dancers soar within their poetic exchanges along with The Westerlies’ soundtrack.” - Shannon Webb-Campbell, a Mi’kmaw artist from Newfoundland like Source Artist Jordan Bennett, was invited to review the piece’s world premiere in Muskrat Magazine

The World We Left Behind

(2023) 26 minutes. 7 dancers. Composer Phong Tran. Choreography Troy Schumacher. Inspired by a custom tabletop role-playing game by Samantha Leigh. Lighting by Ben Rawson. Costumes styled by Barbara Erin Delo and Troy Schumacher

“One of the remarkable things about this ballet is the way that the choreography reflects happenstance—the movement of people along similar trajectories—while also allowing many of the dancers to perform independently. There are small delays, slight differences, and unexpected movements that speak to the care put into the choreography.” -Gizmodo

The First and Last Light

(2022) 22 minutes. 6 dancers Choreography Bryn Cohn, Recipient of BalletCollective’s 2022 Commission for Developing Choreographers. Music by Alex Somers. Music produced and mixed by Alex Somers. Engineered by Alex Somers and Joel Shearer. Cello by Gyða Valtýsdóttir. Inspired by Olafur Eliasson’s The weather project. Costumes by Lauren Starobin. Lighting by Ben Rawson

“The choreographic narrative displays a sense of vast wonder. United for one hour, the audience is taken away from the clock and into a world where time stops.” - The Dance Enthusiast

The Nutcracker at Wethersfield

(2020) An immersive, one-of-a-kind production of the holiday classic made for its unprecedented time, where the audience becomes part of the story. 60 minutes. 22 dancers. Music by Tchaikovsky. Featured in The New York Times, New York Magazine, Cosmopolitan, Vogue, The Wall Street Journal, The Dancing Times, The New Yorker, Pointe and more. NutcrackeratWethersfield.com

“true magic” “remarkable” “dreamlike” - The New York Times

Faraway

(2019) 30 minutes. 8 dancers. Choreography by Troy Schumacher. Music by Judd Greenstein. Source art by Zaria Forman. Costumes by Karen Young. Stage design by Jason Ardizzone West. Lighting by John Cuff.

“After nearly a decade, the unquestionable accomplishment of BalletCollective is the level of the productions, both in professional luster and intent. You won’t find more thoughtful or better-produced work at twice the cost.” - Dancelog

Translation

(2017) 33 minutes. 6 dancers. Choreography by Troy Schumacher. Music by Julianna Barwick. Installation by Sergio Mora-Diaz. Costumes by Outdoor Voices. Source writing by Ken Liu. (50 minute version also available)

“The whole thing was magical.” -Dancetabs

“The moment the heavy curtains open to reveal BalletCollective’s Translation is breathtaking. The projected lights scatter and blaze like luminous fireflies against the hanging translucent veils. We are suspended in silence, in captive reverie. Trails of light surround the slowly unfurling silhouettes of dancers. The only vibrations in the air are the rising ethereal chords and synthesized loops, performed live by commissioned composer Julianna Barwick. The layers of sound faintly resemble a choir of crickets at the end of summer, transporting us to an unmoored moment in a nameless place, tinged with the hues of nostalgia and foreignness.” - The Huffington Post

Invisible Divide

(2015) 25 minutes. 7 dancers. Choreography by Troy Schumacher. Music by Ellis Ludwig-Leone. Source art by Paul Maffi. 

“Invisible Divide leaves a number of burning images in the mind.” - The New York Times

“absolutely brilliant.” - The Huffington Post

“With Invisible Divide, Schumacher and his band of collaborators created art that appealed to all, and connected to all.” - Stagebuddy

Until the Walls Cave In

(2016) 25 minutes. 7 dancers. Choreography by Troy Schumacher. Music by Ellis Ludwig-Leone. Source art by architect James Ramsey. 

“There are times in Until the Walls Cave In when his jagged, out-of-sync movements seamlessly melt into washes of unison and smoothly fluid classical dancing. The play of contrasting styles, and Schumacher’s mastery of both, was at times breathtaking.” -The Dance Enthusiast

All That We See

(2015) 19 minutes. 5 dancers. Choreography by Troy Schumacher. Music by Ellis Ludwig-Leone. Inspired by a painting by David Salle. 

“The dancers appear to discover themselves and one another as they go along. The group dances make some use of formal geometries, but the overall look is remarkably informal. Structures throughout are loose and flexible; each dance is presented as a series of separate incidents. Rhythms and phrasing are continually changing; the action is frequently interrupted by walking, gestures, gazes. The dancing comes out of a larger context and keeps returning to it.” - The New York Times

Dear and Blackbirds

(2014) 9 minutes. 2 dancers. Choreography by Troy Schumacher. Music by Ellis Ludwig-Leone. Inspired by a poem by Cynthia Zarin. 

“It makes you think that love may exist, even if in an imperfectly fragile form.” - Huffington Post

“This boy-girl love duet…[is] studded with several conventional images of need: Here he presses his cheek to her hand, there she embraces his waist. But the dances keep the scene fresh, sometimes coexisting in parallel soliloquies, and often with a conversational immediacy, proceeding like question and answer, mutually responsive.” -The New York Times

Forest of Shifting Time

(2022) 31 minutes. 9 dancers. Composer Augusta Read Thomas. Choreography and Direction by Troy Schumacher. Source Art, Costumes, and Props: Doug Fitch, with assistance from Sharone Malka, Tommy Nguyen, Greyson Ferrandino, and Ren Cazell. Lighting Design: Ben Rawson

“Abstract, investigative, and somewhat hilarious, each character adds a surprising layer to Schumacher’s narrative.” - The Dance Enthusiast

Natural History

(2020) 22 minutes. 7 dancers. Choreography by Troy Schumacher. Music by Ellis Ludwig-Leone. Source poem by Carey McHugh. Costumes by Karen Young.

Natural History was the first one-act ballet to premiere live in the US during the Covid-19 pandemic.

“a work of the moment, instead of an escape from it.” - The New York Times

Scorpio Desert

(2019) 15 minutes. 7 dancers. Choreography by Preston Chamblee, Recipient of BalletCollective’s 2019 Commission for Developing Choreographers. Music by Paul Moravec. Source art by photojournalist George Steinmetz. Costumes styled by Melinette Rodriguez.

“Chamblee, who started choreographing last year, seemed precociously aware of what ballet can be.” - Dancelog

Orange

(2017) 10 minutes. 5 dancers. Choreography by Gabrielle Lamb, Recipient of BalletCollective’s 2017 Commission for Developing Choreographers. Music by Caleb Burhans. Source art by Trevor Paglen.

“Lamb’s “Orange” takes its cues from Paglen’s concept of “machine vision” - Hyperallergic

The Answer

(2016) 6 minutes. 2 dancers. Choreography by Troy Schumacher. Music by Judd Greenstein. Source art by architect Carlos Arnaiz. 

“The Answer, is a light-hearted, high-octane romp for Anthony Huxley and Rachel Hutsell set to a score by Judd Greenstein. In this piece, the “source art” is a photo of a jump by basketball great Allen Iverson as interpreted through Arnaiz’s architectural lens. Schumacher reproduces Iverson’s idiosyncratic leap as a choreographic motif. Huxley and Hutsell sail through the often-airborne choreography with humorous interplay and marvelous élan.” - The Dance Enthusiast

The Last Time This Ended

(2015) 8 minutes. 2 dancers. Choreography by Troy Schumacher. Music by Mark Dancigers. Source art by Dafy Hagai. 

“Stanley and Prottas sport t-shirts and jeans, and move in bursting passages punctuated by moments of stillness—a dynamic favored by Schumacher. Their relationship is unclear, but tender gestures—as when one rests his head on the other’s chest—soften the brisker passages that include fast, top-like pencil turns. An arabesque with an outreached hand speaks of yearning.” - The Brooklyn Rail

The Impulse Wants Company

(2013) 22 minutes. 7 dancers. Choreography by Troy Schumacher. Music by Ellis Ludwig-Leone. Inspired by a poem by Cynthia Zarin. 

“Addressing central questions about the genre of ballet — music, gender, body language, academic vocabulary — and without strain. His answers look both direct and unforced, experimental and refreshing.

When women partner women, or men men, or women support men, it doesn’t look as if Mr. Schumacher has an agenda; it appears simply as if his stage world reflects the one most of us live in today.” - The New York Times