PARIS — When the Dance Theatre of Harlem revives Geoffrey Holder’s groundbreaking version of Igor Stravinsky’s “Firebird” ballet in Paris Friday night, audiences will see a performance that blends archival authenticity with modern craftsmanship.
At the heart of the revival are the costumes — nearly all of which needed to be recreated from scratch after sitting in storage for four decades. Leo Holder, Geoffrey’s son, led the painstaking effort, ensuring the visual and tactile integrity of the production.
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“Practically everything had to be remade from scratch,” Holder explained, noting that about 95 percent had to be recreated. Even when pieces were in good enough condition to be worn, they aren’t pliable enough for modern dancers because after 40 years, technology and textiles have changed.
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Staying true to the original colors and how the materials moved was also key. Sweat, wear and time meant that threads and dyes needed to be carefully studied to get the right color or tone to replicate with modern technology.
“It’s really a challenge to revive something that has not been performed in 40 years. You can’t just sort of pick up where you left off,” he said.
For one costume, the challenge was particularly acute. Made from a rare Japanese fabric sourced by Geoffrey himself, the material no longer exists. Holder had to devise a close approximation, balancing authenticity of color and style with the functionality needed today.
Beyond costumes, the sets posed their own restoration hurdles. Painted by hand on linen decades ago, they had faded and deteriorated to the point of being unusable. Holder photographed the original backdrops from 40 feet above on a sound stage, then digitally restored each image, smoothing creases and cracks in the fabric. The result preserves the original vision while adapting it for contemporary staging and lighting effects.
Holder worked closely with stage manager Paul Moore, scenic artist Don Padgett, and lighting designer Clifton Taylor, all of whom had collaborated with his father on the original production — old friends he calls his “consiglieres” — to ensure that every detail honored the original look while being updated.
The younger Holder’s approach is informed by decades of insider knowledge. He grew up in theaters and studios while closely observing his father’s process, and now instinctively knows when to be faithful and when flexibility is necessary.
“Nothing can be a museum piece,” he said. “It’s got to live.”
After Paris, the production will tour the U.S., including a run in New York in April, bringing Holder’s careful restoration and his father’s legacy to a new generation.
“Ultimately, it’s my job,” Holder said. “With the passing of my mother, I am the last family member left. We were a very, very tight-knit family and I went from the cradle to rehearsals, and luckily I have been able to retain all of it.”