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New York City Center - 131 W 55th Street, NY NY 10019
(Open to see Choices)
Chroma - Wayne McGregor, Choreographer
The groundbreaking British choreographer's contemporary ballet is full of sensory suprises: sumptuous movement, a driving score by Joby Talbot with orchestrations of songs by The White Stripes, and a luminous set by minimalist architect John Pawson.
Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul.
Grace - Ronald K. Brown, Choreographer
One of the most popular works in the Ailey repertory, Ronald K. Brown’s spellbinding Grace is a fervent tour-de-force depicting individuals on a journey to the promised land.
Petite Mort - Jiri Kylian, Choreographer
Visual surprises abound in this tantalizing contemporary ballet, which blends a classical sensibility with a bold, modern wit. The choreography includes six men, six women, and six fencing foils.
From Before - Garth Fagan, Choreographer
Jamaican-born, a Tony Award winner for The Lion King – expertly distills the dance traditions of his heritage to display movement in its purest form. In this ensemble work, undulating torsos move independently of gyrating hips, and arms and legs cut through space with an arresting display of strength. Tableau-like moments of stillness are juxtaposed against fiery solos.
Home - Rennie Harris, Choreographer
Bold hip-hop inspired by the stories of people living with or affected by HIV. Drawing upon poems and images submitted in 2011 to the Fight HIV Your Way contest, an initiative of Bristol-Myers Squibb, Harris created a compelling work that conveys both the chilling isolation and uplifting sense of community many experience.
Lift - Aszure Barton, Choreographer
This propulsive world premiere by in-demand choreographer accentuates the vitality and physical prowess of the Ailey company. Driven by the dancers’ passion, skill and collective power, the work was created over a 5-week developmental process with the entire Company. The percussive score, composed by Curtis Macdonald, is infused with the infectious energy and heart that she observed in her initial encounters with the Ailey dancers.
Strange Humors - Artistic Director Robert Battle
Equal parts comedic and combative. An eccentric, jocular display for two dancers. Composer John Mackey, with whom Battle is a frequent collaborator, provides a fiery score propelled by elements of African hand drumming and Middle Eastern folk music.
Arden Court - Paul Taylor
A modern dance bucolic masterpiece. It is the first work by this illustrious dance master to enter the Ailey repertory. Set to a series of excerpted symphonies by baroque composer William Boyce, Arden Court allows for the Ailey dancers to be at once both playful and majestic.
In/Side - Robert Battle
Set to Nina Simone’s haunting rendition of the Oscar-nominated song "Wild is the Wind,”In/Side offers audiences an intimate look at a man’s most private struggles.
Minus 16 - Ohad Naharin
Featuring an eclectic score ranging from Dean Martin to mambo, techno to traditional Israeli music. Uses improvisation and Naharin’s acclaimed "Gaga” method, a unique movement language that breaks down old habits, pushing the dancers to challenge themselves in new ways.
Memoria - Alvin Ailey
A deeply personal work and one of his most affecting. Mr. Ailey said that nearly all of his dances had some basis in a relationship, feeling or event that he experienced. In the case of Memoria, choreographed in 1979, his motivation was the death of his dear friend and colleague, Joyce Trisler.
D-Man in the Waters (Part I) - Bill T. Jones
In this exhilarating work by Kennedy Center Honoree, McArthur Grant awardee and Tony Award-winner (Fela!, Spring Awakening), rigorous formalism and musicality embody resilience and triumph over loss. The piece captures the infectious energy, innocence and will to survive of a beleaguered generation, and though it deals with sorrow, it maintains a defiantly celebratory tone.
Another Night - Kyle Abraham, Choreographer
One of the most in-demand young choreographers today, presents a richly inventive contemporary jazz piece that showcases the artistry and versatility of the Ailey dancers. Was inspired by the legendary drummer Art Blakey’s interpretation of the jazz classic "A Night In Tunisia” by Dizzy Gillespie.
Night Creature - Alvin Ailey
A bubbly champagne cocktail of a dance, a perfect fusion of Ailey’s buoyant choreography and Duke Ellington’s sparkling music. At once wistful and sassy, it beckons viewers into a nocturnal world populated by jazz babies and night owls.
Pas de Duke - Alvin Ailey
Spirited modern dance translation of a classical pas de deux, originally created in 1976 as a showcase for Judith Jamison and Mikhail Baryshnikov. She was a reigning star of modern dance; he was one of the world’s most famous ballet dancers, having defected from the Soviet Union two years earlier. Ailey made brilliant use of the dancers’ physical and stylistic differences, crafting an elegant, flirtatious work that showed off their exuberance and virtuosity as they engaged in a playful game of one-upmanship.
The River - Alvin Ailey
By turns muscular and lyrical, The River is a sweeping full-company work that suggests tumbling rapids and meandering streams on a journey to the sea. Ailey’s allegory of birth, life and rebirth abounds with water references, from the spinning "Vortex” solo to the romantic "Lake” duet, and from the powerful "Falls” quartet to the joyful "Giggling Rapids.” The choreography demonstrates Ailey’s admiration for classical ballet, but retains the modern and jazz influences found in all his work. "The River shows Mr. Ailey at his inventive best,” declared The New York Times.
Ailey Classics features excerpts from classics works by Alvin Ailey, as well as a performance of his masterpiece, Revelations, in its entirety.
Matthew Rushing performs excerpts from Love Songs, Pas de Duke and Home.
Episodes - Ulysses Dove
A starkly passionate interpretation of the power struggles involved in human relationships. Set to a sparse, percussive score by Robert Ruggieri with the choreography contained along two diagonally-lit paths, private battles between the sexes play out for all to see onstage. Moments of tension, explosive confrontation, and unresolved longing are drawn out as duos partner with complete abandon.
Four Corners - Ronald K. Brown
Eleven dancers depict spiritual seekers amid four angels standing on the corners of the earth, holding the four winds. In creating his fifth commission for the Ailey company since 1999, the celebrated choreographer turned to the song "Lamentations” by his friend, recording artist Carl Hancock Rux. Drawing from West African and modern dance influences, Brown uses grounded, earthy movements to portray figures who are burdened by grief but ultimately find peace, solace, and freedom with the aid of "the angels in their corners” mentioned in Rux’s text.