"I can't believe I'm up here"
For as long as she could remember, Constance Stamatiou had danced. She loved the excitement of being before an audience. But this was different.
For as long as she could remember, Constance Stamatiou had danced. She loved the excitement of being before an audience. But this was different.
Clifton Brown was 4 when his grandmother decided that formal physical exercise would cheer him up after his playmates, all older cousins, deserted him for school.
In 1962, Alvin Ailey choreographed "Reflections in D" to Duke Ellington's music as a vehicle for himself.
Is Clifton Brown the dance world's next box office star?
At two recent galas, Daniel Ulbricht at NYCB and Matthew Rushing at Ailey took my breath away.
I think stage presence goes hand in hand with maturity.
Alicia J. Graf was waiting at the Alvin Ailey dance studio in Manhattan for the us to the airport. She was dressed in jeans and a soft gray sweater, her voluminous curls, usually worn loose, pulled back in a knot. She was clutching dozens of pages of a grueling tour schedule that would dictate the next 16 weeks of her life. First stop: Jackson, Mississippi, then several other cities in the South, a hop up to Chicago, finally winding down with shows in Boston and elsewhere in the Northeast.
Some of the best advice dancer Alicia Graf ever got came from her mother: Since you're tall, you'll always stand out, so you might as well be glorious. Maybe that's why at the Alvin Ailey American Dance Theater performances at the Kennedy Center this week, Graf leaps and turns and extends her legs so high it's as if she's trying to play footsy with God.
In a well-known segment of Alvin Ailey's signature dance, ''Revelations,'' performed to the spiritual ''Wade in the Water,'' dancers wave swaths of billowy blue fabric to simulate a river.
The Ailey company's tour leaves South Africa dancing in the aisles.