Variety is the spice of Ailey. As artistic director Robert Battle winds up his second season, he continues to broaden the repertory - making for programming where the choroegraphy is (almost) as good as the dancing.
Last Saturday, I saw a stunning Alvin Ailey evening of pieces like "Streams," "The Evolution Of A Secured Feminine," and "Urban Folk Dance." The night ended with "Minus 16," a jagged, exciting ensemble piece, performed in business suits and hats, with choreography by Ohad Naharin.
If you haven't seen a performance by the Alvin Ailey American Dance Theater in a while, you might forget just how accomplished the company's dancers are. You know they can do anything, but the cisible evidence can leave you reeling.
The members of Alvin Ailey American Dance Theater aren't interchangeable, but some rise to the top faster than others. The elegant Jacqueline Green is everywhere this season, dancing lead roles in Kyle Abraham's "Another Night" and Jiri Kylian's "Petite Mort" as well as - and even she can hardly believe this - carrying the umbrella in the "Wade in the Water" section of Alvin Ailey's 1960 masterpiece "Revelations."
A shaman casts a spell in "From Before," the legendary dance by choroegapher Garth Fagan, which Alvin Ailey American Dance Theater has revived this season at NY City Center.
Renee Robinson gave the farewell performance every dancer would love to give at City Center Theater on Sunday evening. After more than 30 years of professional dancing, she was still a compelling image of style, moving with verve and elan at the heart of two of Alvin Ailey American Dance Theater's classic works.
A program entitled :Celebrating Renee Robinson" at New York City Center Theater on Sunday evening feted the dancer, who is retiring from Alvin Ailey American Dance Theater.
I always have the best seat in the house at the Dance Magazine Awards because I get to watch from backstage. On Monday night I got to see Hee Seo's extra swooning surrender when she fell back into Cory Stearns arms in Tudor's 'The Leaves Are Fading'.
Improvisational jazz is not exactly a choreographer's best friend. If the musicians can change up tempos and tunes, dancers can do their best to chuck their assigned steps and wing it.
When Robert Battle took over as the artistic director of Alvin Ailey American Dance Theater last year, it was the equivalent of being given the helm of a luxury cruise ship. In the scrappy modern-dance world most directors are still in paddle boats.