Ballet Taos will tumble down the rabbit hole to close its 2025–26 season with the fantastical full-length ballet 'The Adventures of Alice', a dazzling reimagining of Lewis Carroll's Alice in Wonderland and Through the Looking Glass.

Maria Angeles, a 79 year-old Spanish woman, lives alone in Tangier, Morocco, and enjoys her daily routine. However, her life is turned upside down when her daughter arrives from Madrid to sell the apartment in which she has always lived. Determined to stay, she does everything she can to get her home and her belongings back and, unexpectedly, rediscovers love and sensuality.

Broadcast live from The Old Vic in London, Academy Award-winner Sally Field (Steel Magnolias, Brothers & Sisters) and Bill Pullman (The Sinner, Independence Day) star in Arthur Miller’s blistering drama All My Sons. America, 1947. Despite hard choices and even harder knocks, Joe and Kate Keller are a success story. They have built a home, raised two sons and established a thriving business. But nothing lasts forever and their contented lives, already shadowed by the loss of their eldest boy to war, are about to shatter. With the return of a figure from the past, long buried truths are forced to the surface and the price of their American dream is laid bare. Jeremy Herrin (NT Live: This House) directs the cast, which also includes Jenna Coleman (Victoria), and Colin Morgan (Merlin) alongside Bessie Carter, Oliver Johnstone, Kayla Meikle and Sule Rimi.

Join the Zikr Dance Ensemble onstage for a masterclass! Following is a Q&A with the dancers and Zikr Dance Ensemble Director David Taylor. All participants must fill out this registration and liability form upon purchasing a ticket which will be found in TCA Calendar.

An array of Taos talent, both young and old, perform in this hilarious adaptation of the old beloved tale.

GA $20 TCA Member $18 Youth $10 Family $50 ( Must include at least 1 youth under 18)

The performance features dancers of multiple ages and levels, combining classical technique, storytelling, and imaginative choreography in an enchanting theatrical experience for all ages.

Thomas A. Anderson is a man living two lives. By day he is an average computer programmer and by night a hacker known as Neo. Neo has always questioned his reality, but the truth is far beyond his imagination. Neo finds himself targeted by the police when he is contacted by Morpheus, a legendary computer hacker branded a terrorist by the government. Morpheus awakens Neo to the real world, a ravaged wasteland where most of humanity have been captured by a race of machines that live off of the humans' body heat and electrochemical energy and who imprison their minds within an artificial reality known as the Matrix. As a rebel against the machines, Neo must return to the Matrix and confront the agents: super-powerful computer programs devoted to snuffing out Neo and the entire human rebellion.

American composer Gabriela Lena Frank makes her Met debut with her first opera, a magical-realist portrait of Mexico’s painterly power couple Frida Kahlo and Diego Rivera, with libretto by Pulitzer Prize–winning playwright Nilo Cruz. Fashioned as a reversal of the Orpheus and Euridice myth, the story depicts Frida, sung by leading mezzo-soprano Isabel Leonard, leaving the underworld on the Day of the Dead and reuniting with Diego, portrayed by baritone Carlos Álvarez. The famously feuding pair briefly relive their tumultuous love, embracing both the passion and the pain before bidding the land of the living a final farewell. Yannick Nézet-Séguin conducts the Met premiere of Frank’s opera, a “confident, richly imagined score” (The New Yorker) that “bursts with color and fresh individuality” (Los Angeles Times). The vibrant new production, taking enthusiastic inspiration from Frida and Diego’s paintings, is directed and choreographed by Deborah Colker, following her remarkable 2024 debut staging of Ainadamar.

ACT I Russia, 19th century. Autumn in the country. On the Larin estate. Madame Larina reflects upon the days before she married, when she was courted by her husband but loved another. She is now a widow with two daughters: Tatiana and Olga. While Tatiana spends her time reading novels, with whose heroines she closely identifies, Olga is being courted by their neighbor, the poet Lenski. He arrives unexpectedly, bringing with him a new visitor, Eugene Onegin, with whom Tatiana falls in love. Tatiana asks her nurse Filippyevna to tell her of her first love and marriage. Tatiana stays up all night writing a passionate letter to Onegin and persuades Filippyevna to have her grandson deliver it in the morning. Tatiana waits for Onegin’s response in the garden. He admits that he was touched by her declaration but explains that he cannot accept it and can only offer her friendship. He advises her to control her emotions, lest another man take advantage of her innocence. ACT II January. The local community has been invited to the Larin estate to celebrate Tatiana’s name day. Onegin has reluctantly agreed to accompany Lenski to what he mistakenly believes will be an intimate family celebration. Annoyed to find himself trapped at an enormous party and bored by the occasion, Onegin takes his revenge on Lenski by flirting and dancing with Olga. Lenski’s jealousy is aroused to such a height that he challenges Onegin to a duel. The party breaks up. Before the duel, Lenski meditates upon his poetry, upon his love for Olga, and upon death. Lenski’s second finds Onegin’s late arrival and his choice of a second insulting. Although both Lenski and Onegin are full of remorse, neither stops the duel. Lenski is killed. ACT III St. Petersburg. Having travelled abroad for several years since the duel, Onegin has returned to the capital. At a ball, Prince Gremin introduces his young wife. Onegin is astonished to recognize her as Tatiana and to realize that he is in love with her. Onegin has sent a letter to Tatiana. He arrives at the Gremin palace and begs her to run away with him. Tatiana admits that she still loves him, but that she has made her decision and will not leave her husband. Onegin is left desperate. —Reprinted courtesy of English National Opera