Ballet Hispánico Ignites Central Park: A Triumphant Evening of Excellence
On August 7, the Rumsey Playfield in Central Park wasn’t just a venue—it was an open-air cathedral of Latin dance. New York’s skyline faded behind a full production stage where Ballet Hispánico, the country’s premier Hispanic dance company, delivered a triple bill so exhilarating it practically salsa’d off the platform.
Live and projected views of Ballet Hispànico at Central Park SummerStage. Photo by Edward Kliszus Tonight’s performance wasn’t a patchwork of lawn chairs and wishful thinking. The setup was professional-grade: stadium-quality sound that enveloped every beat and breath, a lighting rig that transformed choreography into a sculpture, and multiple projection screens that mirrored stage action in such high definition that they occasionally flirted with 3D. The venue even provided rows of folding chairs, granting Central Park’s general admission crowd a touch of Lincoln Center luxury, minus the box office markup.Oh, and a food stand? Yes. You could munch a meal while watching masterworks of Latin identity and rhythm unfold under the stars. Manhattan, meet mambo.
A Company that Doesn’t Just Represent Culture—It Embodies It
Founded by Tina Ramirez and now directed by the kinetic Eduardo Vilaro, Ballet Hispánico has spent over 50 years doing what other companies only claim to do—fuse tradition with innovation, community with excellence. They’ve commissioned over 100 original works and transformed dancers from every corner of the country (and globe) into living vessels of dance artistry.
Ballet Hispánico cast performs a synchronized line-up pose in House of Mad'moiselle, led by a central drag figure in high heels and dramatic red feathers at Central Park SummerStage. Photo by Edward Kliszus More than just a dance troupe, Ballet Hispánico is a movement. As The New York Times aptly put it: "Many companies pay lip service to nurturing talent, but Ballet Hispánico has devoted significant resources and care to cultivating emerging artists."
House of Mad'moiselle: Where Myth, Femininity, and Drag Collide in Style
Annabelle Lopez Ochoa’s House of Mad’moiselle isn’t so much danced as unleashed. Created in 2010 and revived in 2024 at New York City Center, it’s a gender-exploding, high-gloss interrogation of Latin American femininity.Set to a hybrid soundtrack (Bernstein, Chavela Vargas, Bart Rijnick, Charles Gounod, and a zesty dose of Oro Sólido), the piece opens like a ballroom drama and morphs into an avant-garde cabaret. This is Latinidad with an arched brow and stiletto-heeled precision.
Ballet Hispánico dancers performing a romantic duet bathed in blue light, showcasing grace, passion, and elegance at Central Park SummerStage. Photo by Edward Kliszus The cast—Amir J. Baldwin, Mia Bermudez, Antonio Cangiano, Francesca Levita, Dylan Dias McIntyre, Andrea Mish, Adam Dario Morales, Amanda Ostuni, Omar Rivéra, and Olivia Winston—functioned like a rotating deck of archetypes. Bermudez sliced through space with the authority of a woman who’s heard “no” too many times. Morales and Cangiano summoned old-school machismo, then shattered it with grace. Baldwin layered American Sign Language into the choreography, creating new syntax for body language. Andrea Mish and Amanda Ostuni added both vulnerability and bite.Ochoa’s costume concept (crafted by Diana Ruettiger) transformed the cast into mythic Latin figures, exaggerated and electrified. Nicholas Villeneuve’s drag dramaturgy added delicious ambiguity, while Christopher Ash’s lighting carved emotion from open air.A riot of visual and sonic allusions, House of Mad’moiselle closed its final tableau in a flash of smirks and shadows—feminine power reimagined with a wink.
Ballet Hispánico ensemble lifts a dancer skyward in a stunning aerial moment during "House of Mad'moiselle," surrounded by theatrical fog and suspenseful lighting. Photo by Edward Kliszus Intermission: Parkside Picnicking Meets Modern Art ChatAs dusk fell deeper, the crowd came alive—not to leave, but to process. With folding chairs re-angled and snacks in hand, audience members swapped interpretations of what they'd just seen. Meanwhile, the massive projection screens continued to pulse with preview footage, keeping even the food line wrapped in atmosphere.
Sombrerísimo: Magritte in a Fedora with Latin Swagger
Ochoa’s Sombrerísimo, created for the 2013 Fall for Dance Festival, began as an all-male meditation on bowler hats and surrealism. But tonight’s all-female cast made the material their own—playful, pensive, and provocatively recontextualized.
Ballet Hispánico dancers in bowler hats and colorful shirts line up in formation during a scene from “Sombrerísimo,” exuding rhythm and theatricality at Central Park SummerStage. Photo by Edward Kliszus Dancers Mia Bermudez, Amanda del Valle, Francesca Levita, Andrea Mish, Amanda Ostuni, and Olivia Winston wielded their hats like philosophical arguments. One moment, they were a brotherhood of tricksters; the next, a flock of philosophers channeling René Magritte in a tango bar.The soundtrack—featuring Le Banda Ionica, Macaco el Mono Loco, and Titi Robin—offered a Mediterranean bite with Latin undertones. Costume designer Diana Ruettiger’s use of hats from multiple cultures built a kaleidoscope of identity. Joshua Preston’s lighting conjured shadows that moved like thought bubbles.In the end, Sombrerísimo wasn’t about hats—it was about who gets to wear them, and what that act might mean.
Ensemble gathers around a commanding central figure during House of Mad'moiselle, highlighting theatrical drag imagery and tight group synchronization at Central Park SummerStage. Photo by Edward Kliszus
Club Havana: Pedro Ruiz’s Cuban Memory Palace in Motion
Just when the night might’ve peaked, Pedro Ruiz’s Club Havana sauntered onstage and said, “Watch this.” First premiered in 2000, this jewel of Latin social dance wrapped mambo, cha cha, conga, and rumba into a glittering ode to pre-revolutionary Cuba.Mia Bermudez and Omar Rivéra opened the number with a simmering duet that could’ve fogged the projection lenses. Then came the Caballo sequence: Olivia Winston and Dylan Dias McIntyre offered ballroom elegance, Amanda Ostuni and Matthew Mancuso served contemporary cool, and Andrea Mish and Amir J. Baldwin embodied rhythmic curiosity.
Ballet Hispánico ensemble dancers in vibrant red wigs and sheer costumes captivate with dynamic choreography and synchronized movement at Central Park SummerStage. Photo by Edward Kliszus Amanda del Valle shined in the Cha Cha Cha trio, paired with Cangiano and Rivéra—her technique as sharp as her charisma. The whole company flooded the stage for Romanza, Rumba, and Conga—each step brimming with joy, memory, and mastery.The music—arranged by Israel Lopez, Rubén Gonzales, A.K. Salim, Pérez Prado, and Francisco Repilado—sounded like a Havana street corner after midnight. Emilio Sosa’s costumes (constructed by Ghabriello Negron) sizzled with 1950s color, while Donald Holder’s lighting made Central Park feel like the Tropicana Club during a blackout.
The lead dancer stands tall in front of the ensemble during House of Mad'moiselle, with red lighting and stylized wigs amplifying the theatrical energy at Ballet Hispánico’s SummerStage performance in Central Park. Photo by Edward Kliszus
Eduardo Vilaro: Architect of an Empire in Motion
Vilaro isn’t just a CEO—he’s a cultural conductor. Since 2009, he has expanded Ballet Hispánico’s mission in all directions: securing more commissions, fostering deeper community ties, forming global choreography partnerships, and delivering razor-sharp programming. Under his watch, the company isn’t just surviving—it’s innovating with teeth.
A scene from Ballet Hispànico at Summer Stage, Central Park, NYC. Photo by Edward Kliszus
Open-Air Challenges, Studio-Level Execution
This was no black box. Performing outdoors means ambient noise, shifting light, and unpredictable weather. Yet Ballet Hispánico delivered studio-level clarity and theatrical polish. The technical crew (lighting by Dominick Riches, stage managed by Alexis Hinman) made it all look effortless.Sound, managed exquisitely, enveloped listeners rather than blasting them. Transitions were flawless. Timing? Surgical. Lighting? Cinematic. The crew made Central Park feel like a Broadway house—just with better ventilation.
Why Ballet Hispánico Matters (and Always Will)
Ballet Hispánico isn’t diversity checkbox programming. It’s serious, vital, artistically robust. They perform with pride and polish, never pandering to their audience. Their work is about presence: showing up, showcasing, and demonstrating what a Latin identity achieves in a complete space and under the spotlight.These performances weren’t just for fans of dance—they were for anyone who values excellence, representation, and joy.
Where They’re Going, and Why You Should Follow
After this Central Park triumph, it’s clear Ballet Hispánico is not slowing down. They’re expanding their repertoire, deepening their educational outreach, and inviting everyone—from abuela to Gen Z TikTokers-to come along for the ride.Their mission isn’t just to preserve Latin culture—it’s to propel it forward, stage by stage.
The Company: Eleven Artists, Countless Stories
Each dancer brought their cultural encyclopedia to the stage.- Amir J. Baldwin (Trenton, NJ) layered ASL into every movement, creating new grammar for contemporary dance. - Mia Bermudez (Montclair, NJ) proved that homegrown talent can outshine the pros when given the right platform. - Antonio Cangiano (Italy) lent gravitas with Graham-inflected ferocity. - Amanda del Valle (Miami, FL) brought Cuban clarity to Ruiz’s dreamscape. - Matthew Mancuso (East Haven, CT) debuted with finesse. - Francesca Levita (Chicago, IL) showed polish far beyond her first season. - Dylan Dias McIntyre (Key West, FL) was all velvet and voltage. - Andrea Mish (South Florida) offered grace backed by a layered technique. - Amanda Ostuni (Patterson, NY) danced like she’d grown up in the wings of this company. - Adam Dario Morales (Englewood, NJ) gave the stage subtle intensity and crisp precision. - Omar Rivéra (Los Angeles, CA) danced like he was telling you a story only you were meant to hear. - Olivia Winston (Salt Lake City, UT) balanced LINES Ballet rigor with Broadway-ready charm.
A Ballet Hispánico soloist in a black bejeweled bodysuit performs with fierce elegance against a smoky stage backdrop at Central Park SummerStage. Photo by Edward Kliszus Production TeamTina Ramirez – Founder A pioneering force in American dance, Ramirez founded Ballet Hispánico in 1970 to uplift Latino culture through world-class performance and education. Her legacy continues to shape the company’s artistic mission.Eduardo Vilaro – Artistic Director & CEO A former company dancer, acclaimed choreographer, and visionary leader, Vilaro has led Ballet Hispánico since 2009, expanding its repertory, deepening community outreach, and positioning the company at the forefront of American dance.Anitra Keegan – Rehearsal Director With extensive experience in performance and pedagogy, Keegan ensures the company's repertoire is polished, dynamic, and stage-ready, working closely with dancers to maintain artistic integrity.Nicole Duffy – Rehearsal Director Duffy brings a wealth of performance expertise and rehearsal precision, helping bridge choreographers' intent with the company’s diverse talent, refining each work for live audiences.Patrick Muhlen – Chief Managing Director Muhlen oversees operations and strategic planning, ensuring that Ballet Hispánico’s artistic vision is supported by sound administrative and financial leadership.Aholibama Castañeda González – Production Director González coordinates all technical aspects of performances, from staging to touring logistics, guaranteeing the seamless execution of each Ballet Hispánico production.Andrea Mejuto – Wardrobe Director Mejuto manages costume construction, care, and continuity, bringing choreographers’ visual concepts to life with style, precision, and cultural authenticity.Dominick Riches – Lighting Supervisor Riches designs and manages lighting systems that support each choreographer’s vision, crafting atmosphere and spatial drama from park stages to international theaters.Alexis Hinman – Stage Manager Hinman ensures every performance runs smoothly—cueing lights, coordinating scene changes, and managing behind-the-scenes action with clockwork precision.
Ballet Hispánico dancers strike a dramatic pose, led by a fierce front performer in a rhinestone-studded bodysuit, against a backdrop of vivid red lighting at Central Park SummerStage. Photo by Edward Kliszus
Ballet Hispánico Ignites Central Park: A Triumphant Evening of Excellence
Ballet Hispànico167 West 89th Street, New York, NY 10024 For tour dates, classes, and more information, visit: www.ballethispanico.org
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