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.
This month Renee Robinson will make her last signature entrance as the "woman with the umbrella" in Alvin Ailey's Revelations.
Kyle Abraham's plate is more than full: His new work for AIley opens Dec. 5, his latest piece for his company Abraham.in.Motion premiered Nov. 1, and he's getting started on a duet for the 2013 Wendy Whelan Project.
With the holidays fast approaching, nothing brings us pirouetting into the snowflake season quite like the Alvin Ailey American Dance Theater.
I'm so scared of this Ailey premiere! I've had dreams -- or better yet, nightmares -- where the dancers forget their costumes and enter the stage half-dressed or miss an entire entrance on opening night.
Last night, I was able to snag a ticket to Alvin Ailey American Dance Theater's "season preview" performance, a sampler of works from their upcoming New York City Center season.
When it comes to cities that fuel the creative flair, Pittsburgh isn't usually the first to spring to mind. But don't tell Kyle Abraham. This dancers and choreographer has been mining that town for material his entire career.
Alvin Ailey American Dance Theater, touring for the first time under new artistic director Robert Battle, delivered a heady, reverberating concoction of pieces - including the company premiere of Paul Taylor's Baroque pure-dance classic "Arden Court" (1981) and the California premiere of hip-hop choreographer Rennie Harris' "Home" (2011).
New beginnings often contain built-in excitement, but there was an extra note of promise in the Alvin Ailey American Dance Theater's program Tuesday night at the Kennedy Center Opera House.
One of Robert Battle's first dance memories involves moving to the song That's Entertainment. Little did he know how prophetic that title was.