Warmth, exuberance, power, finesse – all these qualities infuse everything they do.
Tag - Revelations
Every fall, just after Thanksgiving, Alvin Ailey American Dance Theater sets up shop at City Center, as sure a sign of the season as Christmas carols at the grocery store.
In the end, SKETCH is about the artists and their learning process, and it’s our good fortune that they share it with us in performance.
Battle (in No Longer Silent) responds with a brilliant visualization of the music’s intricate parts, a kind of neo-Rite of Spring for our time.
Harris’s Exodus, on the other hand, felt just right. Like so many pieces in the Ailey repertory, it suggests a spiritual quest, a journey toward the light...
The company has performed here annually since 1968 and considers Berkeley its home away from home, both for the synergy it feels with the Cal Performances staff and the receptive local audience.
The second night... this was by far the best program I’ve ever seen Ailey offer: five pieces, each as good as the others in its different way...
On the 13 December 2014, as the Millions March protest - on the shooting of unarmed African-American men by police - was happening in NY, Shanti Crawford was at City Center seeing Alvin Ailey perform Hofesh Shechter's Uprising. It really hit home...
Although juxtaposed with several new and recently revived productions, Alvin Ailey's Revelations looks just as good now as it did 10, 15, or even 20 years ago, and probably looks just as good as it did at its premiere, way back in 1960.
"AP15, an award-winning work choreographed and danced by urban dance collaborators Sebastien Ramirez and Honji Wang, brought the other "wow" factor to Program 2."
Since becoming artistic director at Alvin Ailey American Dance Theater in 2011, Robert Battle has been steadily mixing up the company’s repertory, adding works by choreographers beyond its usual range: Paul Taylor, Ohad Naharin, and Wayne McGregor, to name just three.
The whole thing (Minus 16) wasn’t a piece of choreography so much as a choreographed event, and hands down one of the most delightful things I’ve ever seen.
Teresa Reichlen - known as Tess by friends and colleagues - is an immediately striking dancer: tall, pale, preternaturally serene. She could be a Madonna in a painting by Botticelli.
The evening felt like a big party, with the Opera House filled to the brim by a cheering, adoring audience. ..."Renee Robinson, We celebrate her tonight!" said Robert Battle, artistic director of the Alvin Ailey American Dance Theater.
Oksana Khadarina talks to one of Alvin Ailey company's leading lights on the eve of her retirement...
Dance is a difficult thing to experience outside of the theatre, but for the sustainability of the artform it has to find a way to make itself more widely available.
In many respects Abraham's 'Another Night' is a typical Ailey work: its score is upbeat, its costumes are colorful and the dancing is fast and athletic.
Another surprising choice was Taylor’s Arden Court (1981), which opened Wednesday evening’s program. The dancers were simply stunning. I hate to say, but the parallel is that Miami City Ballet does Balanchine better than New York City Ballet. Not to denigrate Taylor’s dancers at all...