Alvin Ailey American Dance Theater

Alvin Ailey American Dance Theater: Winter 2024 Season

December 15, 2024

The second premiere was a battle of the sexes duet, “Me, Myself and You,” choreographed by Elizabeth Roxas-Dobrish to a Duke Ellington song, “In a Sentimental Mood” sung lustrously by Brandie Sutton. Caroline T. Dartey, in a long, silvery robe (costumes by Danté Baylor) rose from the floor and wandered beautifully towards a standing screen on the other side of the stage. Once unfolded, the screen was revealed to be a three-part mirror which seemed to fascinate Dartey as she almost made love to her own image. [more]

HopeBoykinDance: States of Hope

October 24, 2023

The spine of the work wasn’t the choreography or dancing, but the lines spoken by the dancers as they walked about the stage; however, since the lighting by Crawford was shadowy and the dancers wore head microphones—their voices projected via speakers—it was often difficult to see who was speaking. Add to this the fact that the performers weren’t the best actors and this all important text became just as shadowy as the lighting (which, to be fair, had a moment or two of brightness and color). [more]

Alvin Ailey American Dance Theater: Spring 2023 Season

June 11, 2023

"Dancing Spirit" was a gentle ballet choreographed by Ronald K. Brown to a suite of music by Duke Ellington, Wynton Marsalis, Radiohead and War. First one dancer, then two and then the entire cast slowly made their way down a darkly lit diagonal (perfect lighting by Clifton Taylor) dressed in Omotayo Wunmi Olaiya’s white flowing dresses for the women and dark pants and pale shirts for the men. This was a ritualistic journey. The simple movements—walking, tilting, dipping into deep, wide pliés and bending at the waist—were developed into complex combinations all to quiet music of Ellington. [more]

BAAND Together Dance Festival 2022 at Lincoln Center

August 12, 2022

The dancers were attired in puffy white tutus and black tights, the men bare-chested—chic costumes by the choreographer. They pranced, undulated their torsos, tossed each other around and vogued in lineups that spread across the stage. If there is one word to describe "One for All," it’s sassy. Despite steam room like temperatures, the cast was exuberant and daring, considering Lopez Ochoa had just finished staging it that afternoon! It was led by a sexy, spritely Chalvar Monteiro of the Ailey Company. [more]

Twyla Now

November 22, 2021

After a pause, there was the world premiere of "Second Duet." It was the most dramatic and emotional dance of the program. Wearing sneakers and casual sportswear, Cassandra Trenary and Aran Bell of American Ballet Theatre were the handsome couple whose tempestuous and turbulent relationship ranged from argumentative to violent to clinging and physically dependent. Tharp’s choreography included complicated partnering in which elements of the relationship were uncomfortable and disturbing, or sometimes amusing (as an example, Trenary stood solidly and dared Bell to just try and pick her up). Without an actual story line, the dance was emotionally charged, revealing and riveting. Trenary and Bell gorgeously performed the complex choreography. Looking more like members of a modern dance troupe than classical ballet dancers, they brought emotional depth as well as physical ability to this taxing piece of work. A modern music mix by Thomas Larcher and Aztec Camera played by the musicians Stephen Gosling (piano) and Gabriel Gabezas (cello) was sometimes as appropriately discordant as the relationship. [more]

BAAND Together Dance Festival at Lincoln Center

August 20, 2021

It’s unlikely that New York City will ever see these five troupes sharing a stage again. This was a festive occasion despite being uneven in tone and not particularly representative of at least two of the large dance companies. Pretentious program notes were fortunately only available online so that they couldn’t mar the visceral enjoyment of several of these works in Program One. ... Each evening of the BAAND Together Dance Festival will feature a different program with contributions from each of these five wonderful dance companies. [more]

Fall for Dance 2019: Program 3

October 9, 2019

The Mariinsky Ballet performed the U.S. premiere of “At the Wrong Time,” which had been choreographed by Alexander Sergeev and had its world premiere March 26, 2019 in St. Petersburg, Russia, at the Mariinsky Theatre. The curtain rose to display a piano. A young man, Vladimir Rumyanstev, turned out to be the pianist who was waiting for a ballerina. Once she arrived, the music could begin. Eventually there were three ballerinas and three partners. The women wore pointe shoes and brightly colored dresses that were cleverly designed by Daria Pavlenko to appear simple but that allowed easy movement. Their partners wore dark shirts and pants. [more]

Alvin Ailey American Dance Theater – Winter 2017 Season

December 23, 2017

The middle work, “Walking Mad,” choreographed by the Swede, Johan Inger, has inadvertently taken on an urgency and timeliness. Always a surreal study of off-handed violence, the current tidal wave of sexual harassment revelations has given “Walking Mad”’s series of violent episodes against women an added shock value. [more]

Fall for Dance 2017

October 10, 2017

Michelle Dorrance, this troupe’s director, has become a force in tap dance because she understands both its legacy and its future. She played Pied Piper to a large troupe of very talented dancers who were all given opportunities to shine and create moods that varied from sexy to flirtatious to hilarious and sad. With additional choreographic contributions by Ephrat “Bounce” Asherie and Matthew “Megawatt” West—fine soloists—“Myelination” ebbed and flowed as soloists floated out of groupings of the twelve dancers to express themselves in brilliant bits that combined tap with modern dance, jazz, break dancing and even a touch of ballet. [more]

Works & Process Rotunda Project: “Falls the Shadow”

September 7, 2017

The title comes from T.S. Eliot’s "The Hollow Men," the one that famously includes the line: “This is the way the world ends/Not with a bang but a whimper” - which is exactly how Falls the Shadow ended, the dancers swirling off to the borders of the Rotunda performing space after a series of meetings and partings that too often found them lying in geometric patterns on the floor, their arms spread out in cross forms or moving their limbs in unison to produce a Busby Berkeley effect. (The audience stood above the action on the ramps, looking down.) The two couples rarely mixed and matched, but did occasionally form lineups that wound up dragging the unlucky fourth dancer who was face down on the stage. The actual movement palette was limited to walking, soft arabesques, rolling on the floor and some hip-level lifts, all repeated too many times. [more]

Alvin Ailey American Dance Theater (Fall 2016 Season)

December 26, 2016

“r-Evolution, Dream.” was a jaunty new ballet by Ailey member Hope Boykin to music by Ali Jackson plus narration spoken by Leslie Odom, Jr. which included a Shakespeare sonnet, “A Negro’s Complaint” by William Cowper, “If I Can Help Somebody as I Pass Along” by Alma Irene Bazel, etc. This delightful romp pitted four groups of dancers against each other, occasionally joining forces, particularly in a fleet finale in which the lines interwove and “interbred.” The dancers—including members of Ailey II—were defined by the color of their chic costumes (black, white, purple and green, designed by Ms. Boykin) all led by Ailey veteran, Matthew Rushing whose Pied-Piper performance gave a center of gravity to what might have been a pleasantly disorganized entertainment. Standing out was Megan Jakel whose whirling, undulating solo evoked spontaneous applause. [more]

Steps Repertory Ensemble 2015

May 8, 2015

The Steps Repertory Ensemble is full of beautiful dancers, refreshingly, of all physical types. Yet, they move like a company all on the same beam, which is to Mr. Shelver’s credit. But, for goodness sake, lighten up, guys. You’re young, beautiful and talented, why not enjoy it? [more]