Ailey Citigroup Theater, NYC
March 16 2013

By Laura Di Orio.

Ailey II, the second company of Alvin Ailey American Dance Theater, and one made up of some of The Ailey School’s most promising scholarship students and soon-to-be professionals, presented its annual New York season at its home theater, The Ailey Citigroup Theater. This two-week run, from March 13-24, was the first with newly appointed Artistic Director Troy Powell, a former Ailey dancer and only the second person to lead Ailey II since its inception in 1974.

The company performed two programs – one of all new works by rising choreographers and one of “Returning Favorites”, with works by Powell, former Ailey Artistic Director Judith Jamison and by Ailey himself. This performance of “Returning Favorites” proved that Ailey II has the talent to shine as a company of its own and provides another outlet for some of the Ailey company’s great works to resonate.

The first piece, The External Knot, choreographed by Powell with music by Philip Glass and Robert Schumann, seems to tell the journey of one man, danced powerfully by David Adrian Freeland, Jr., as he juggles between assimilating with the community or standing strong with his independence. The dancers are dressed in crushed blue velvet dresses for the women and jazz pants for the men. The work opens with Freeland’s back to us, as he stands against the crowd.

The dancers all look as though they’re searching for something, and recurring wave-like gestures with their arms and hands crossing back and forth reverberate through all the sections of the work, bringing the story together. At times, Freeland walks through the rest of the company as they dance. He is clearly separate from them.

The External Knot is laced with varying couples and also beautiful sections of a duet and a trio, with echoes of partnering from the first group section. We’re not entirely sure of the group’s relationship to each other, and no one seems entirely happy, until the final section, marked by a sudden change in music – from subtle, melancholic compositions to more exciting drum beats. There are again echoes of Powell’s choreography from previous sections, but now there is an entirely different feel. The group is now smiling, their movements as a whole are much more dynamic, and they are almost playful, like in a game of tag. Freeland dances opposite of the group at times, but there is something different now – he is more a part of the community but is still different, still independent, and it seems everyone is okay with that.

Ailey II in Alvin Ailey’s ‘Quintet’. Photo by Eduardo Patino.

At the start of Ailey’s Quintet, we are introduced to five luscious ladies in slinky red gowns, red heels and various “bombshell” wigs. We see them first as back-up singers, as they lip synch to the soulful lyrics of Laura Nyro, but their “bootylicious” moments (pretty clever of Ailey, who created the piece in 1968) are quickly interrupted by one dancer who breaks away from the crowd, in a complete moment of internal seriousness. She then snaps out of it and rejoins. These moments trickle through the group. One by one, they break apart from the idealized beauty that exists as though they’re showgirls on display.

Quintet showcases the lovely talent of the women of Ailey II. Each has a chance to break free individually, both as characters and also as dancers. As the piece carries on, the women shed more and more – figuratively, as their movements contrast those of the original “doo-wop” group, and literally, as they toss off their shoes and wigs and dance in neutral clothing.

Quintet is refreshing and interesting in its satirical approach and as a commentary on women. It shows women and their complexities. What’s underneath the glamour and sparkly gowns are real, deep beings. The piece concludes with the five dancers back in their original costumes, but this time with the depth and layers they have just showed us.

The program ended with Jamison’s Divining, a work from 1984 that uses African beats and displays the dancers well in very grounded, modern movement. They appear tribal, almost animalistic, and Andy Kay’s costumes and Timothy Hunter’s lighting create a vibrant final touch.

Divining is a very strong, very musical work, and it allows the dancers to show their strengths both individually and as a group. At times, they even seem to pulse as one breath.

The “Returning Favorites” program was a diverse one, and Ailey II was an energetic, dynamic group who danced a lot and did it well. I can only say it’s a shame that part of my experience was interrupted by an audience member two seats down from me who apparently couldn’t wait through 30 minutes of dancing until the first intermission before digging into her snack with crinkly paper. These dancers are up there working hard, and they deserve the audience’s attention and respect.

Photo (top): Dancers of Ailey II in Troy Powell’s The External Knot. Photo by Eduardo Patinio.

By Kathleen Wessel.

After more than three decades with Alvin Ailey American Dance Theater, acclaimed dancer Renee Robinson will take her final bow this season. Robinson is the last remaining dancer to have been chosen by Ailey himself and the only company member to have worked under all three Artistic Directors – Alvin Ailey, Judith Jamison and now Robert Battle.

In 2012, Robinson officially retired, but the company and her many fans weren’t quite ready to say goodbye. After a series of farewell performances in New York City, Robinson is currently performing as a guest artist in a three-city tour that includes Atlanta, Boston and her hometown of Washington D.C.

As part of that tour, Robinson is teaching open classes – which included one at Spelman College in Atlanta on February 13th – aimed at spreading the message of Ailey and his 1960 iconic work Revelations. Now, more than 50 years after its debut, the classic work has been seen by an estimated 23 million people in 71 countries – more than any other modern dance piece in history. At Spelman, the nation’s top ranked Historically Black College/University, Robinson taught short sections of the classic work and deepened the experience with historical and personal connections.

Alvin Ailey American Dance Theater’s Renee Robinson. Photo by Andrew Eccles.

“If she’ll teach me how to dance, I will give her my life!” said Michaela Johnson, a star struck Spelman student, as she watched Robinson prepare for the class at Spelman’s Baldwin Burroughs Theater. Robinson must be used to reactions like these, but humility, it seemed, is in her nature. “If I’m an inspiration, it’s because I have great examples,” she said in reference not just to famed directors Ailey, Jamison and Battle but also to the many students she has encountered over the years. “I’m an example because I’ve been influenced by them, through performance and outreach [experiences] like the one that’s going to happen this morning.”

Though she has been a professional dancer for most of her adult life, Robinson is also a natural-born teacher. “Who here has seen Revelations?” she asked a crowded stage of about 50 students, “What do you remember about it?” As they answered, Robinson wrote key words from their responses on a large, white notepad, then read them aloud. “Spirituals, struggle, praise, the elements, community. Did I hear somebody say ‘community’? No? Okay, that’s going to be my word,” she said with a laugh.

Alvin Ailey’s original mission, as he put it, was to “deliver dance back to the people,” and Robinson upholds that legacy in mind, body and spirit. After the brief discussion, she removed her outer layer of clothing to reveal a taut, muscular torso in a pink tank top. A murmur of amazement bubbled through the group as Robinson stretched her expertly-toned arms wide and began talking the students through some warm-up exercises.

“Long, long, long, long – you’ll hear me say this a lot,” she said, “Even your foot is long. Long supple muscles ready to move.” Her voice, rhythmic and expressive, was so musical I hardly noticed that it was the only sound in the room. Robinson didn’t need accompaniment for the warm-up, her rich voice was a song in itself.

Renee Robinson performs Alvin Ailey’s ‘Wade in the Water’ as part of ‘Revelations’. Photo by Andrew Eccles.

Entranced and inspired, a student later asked how Robinson has kept her body performance-ready for so many years. Her many answers included sleep, drinking lots of water and keeping yourself in good company. “I’m very serious about the way I eat,” she added, “But y’all, I will kill a diet for macaroni and cheese!”

It is this youthful energy, this easy connection with her students, which makes Robinson an ideal spokesperson for the Alvin Ailey American Dance Theater and its affiliate school. When her official “retirement” sets in, she hopes to continue leading workshops and Revelations residencies in public schools. She’s also thinking about writing a children’s book aimed at giving aspiring dancers a behind-the-scenes look at the profession.

Near the end of the class at Spelman, Robinson taught parts of Wade in the Water and Rocka my Soul, two of the most lively and least technically-demanding sections in Revelations. As the students watched the detailed rippling of her arm, the practiced steps and piercing focus, it became clear that executing the movement was going to be harder than it looked. “Yes! I felt that!” she yelled when the group began to get it, “That’s when you start to feel the correct energy, the seriousness of it and we become involved in your journey.” She went on to explain the meaning behind these sections, the images of splashing water and the ceremony of a Baptism. “Revelations is part of humanity,” she said and paused, “I’m going to start crying.”

Robinson has performed these sections countless times, but she dances with such immediacy, as if every movement is as powerful to her now as it was 30 years ago. When she appeared on stage at the Fox Theatre the following night “holding that umbrella high” as Robert Battle said in his curtain speech, the audience erupted into applause. She led the company in Wade in the Water, stepping over the fluttering pieces of fabric with commanding grace.

Ailey’s works, especially Revelations, have “embraced people from all backgrounds,” says Robinson, and she continues to pass on that message, even off the stage. “I would like for everyone to know that’s what dance can be.”

Photo (top): Alvin Ailey American Dance Theater’s Renee Robinson. Photo by Andrew Eccles.

Dance Informa’s Tara Sheena spoke with acclaimed Alvin Ailey American Dance Theater dancer and choreographer Troy Powell in late September as he was about to embark on his first season as Artistic Director of Ailey II. Powell spoke about his past influences, the exciting new repertory for this season, and what he hopes to accomplish in his new role.

Congratulations on your first season as Artistic Director of Ailey II. Is it a lot different than your previous position as Associate Artistic Director?

Actually, no, because I have been working with [former Ailey II Artistic Director] Sylvia Waters for the past several years as the designated Associate Artistic Director, choreographer, and teacher. I think the main thing is the fact that I am not as involved in the studio as much as I’d like to be. That’s my passion. There’s a lot of administrative stuff to do. Nothing has drastically changed though. Not yet, at least. I was very well groomed by Sylvia Waters, Judith Jamison and even Alvin Ailey, who I met and worked with as well. Let me just say ‘it’s all in the pocket’. They [Waters, Jamison and Ailey] really set a precedent in making sure [to groom] the next generations for positions like this. For me, the road map is clear. Of course, there are going to be some challenges, which I am up for. We’ve got seven new dancers this year.  With me being new, my rehearsal director being new, and a new crew, this year’s all about new. That along with a lot of the traditional stuff in the repertory makes a great balance and a great combination.

Sylvia Waters and Troy Powell. Photo Eduardo Patino

This combination of the old and the new is clear this season. I see the ‘new’ in the three new commissions you have this season: Benoit Swan-Pouffer, Amy Hall Garner, and Malcolm Low.

I picked those three choreographers because they are totally different choreographers. They come from different backgrounds, from different cultures, they have a different style, they use different music and have different movement qualities. I wanted to really challenge the dancers in a different way by bringing in each of those choreographers.

I had really been influenced by Amy Hall in the way she worked – her process. She really, really digs into the dancers. Her piece is about energy and consistency. It’s very vibrant, it’s very bright and it’s very fast.

I brought Benoit Swan-Pouffer in because he’s a much more seasoned choreographer who has a company – Cedar Lake Ballet. I wanted the dancers to work with someone of that status. Not just so they can be seen by him, but I wanted them to work with a choreographer who was going to dig into them and get these dancers to start working more on a professional quota. He brought the energy of how he works with his company to the dancers of Ailey II.

Ailey II dancers with Artistic Director Troy Powell and Rehearsal Director Alia Kache. Photo by Eduardo Patino.

Malcolm Low comes from a postmodern background. You know, there’s really no postmodern anymore. That kind of died out. So, now the dancers are training, training, training to get their ability, their technique and their physicality but Low’s movement is totally relaxed and thrown with feet not pointed. It’s vulnerable, yet powerful, in a way.

You’ve been a part of the Ailey family forever. Were there any big takeaways from your years in the Ailey company that you brought to your role as director?

Definitely. I have watched my mentors so closely: how they taught and what they said. It’s funny because when I stopped dancing and started working with Ailey II, I was a choreographer and I began to see what was on the other side of the table. I guess it seemed natural because I just loved to give back and I was very passionate about the next generation and about giving them the same type of nurturing and grooming that I got as a dancer. I remember Alvin Ailey saying, “You are the next generation.” He really, really [emphasized] the fact that we were human beings before we were dancers and we were expressing ourselves through what we were experiencing and going through as individuals. That is what I want to bring to the table.

Troy Powell leads class for Oprah Winfrey Leadership Academy for Girls students. Photo by Joe Epstein.

Did you know that you wanted to be on the other side of things as a director?

It kind of happened naturally. I didn’t think I was ever going to be the Artistic Director of Ailey II. As dancers and choreographers we think to ourselves, “Oh, I love teaching. I love choreographing. It would be great to have my own company.” You know? You think it’d be great but I just never thought that it would happen. It’s hit me so much harder now because I look back on my past and I think how far I’ve come, how hard I’ve worked and how passionate I have been, and I am very blessed. I am very honored to be in this position. I still feel passionate. I am not drained, I am not too busy, it’s not too crazy, and it’s not going to get that way. I want to stay at a pace where it’s easy and stress-free and we are all enjoying it, we are all having fun, and we are all passionate about it.

Is the company doing any of your work this season? Or, do you have future plans to choreograph on the company?

I definitely have plans. They are not doing my work this season but they did my work last season and I definitely have plans to choreograph or even bring stuff back that I have done in the past.

What’s your vision for Ailey II?

I definitely want the company to evolve in a way that it’s not just a second company. I want to work more on a professional level, so that’s why I am challenging the dancers with bringing different choreographers in, as well as doing a lot of traveling and bringing in rep that I danced – rep that Mr Ailey choreographed. I am bringing in those traditional works because those are the ones that made me grow as an artist. I want these dancers to be able to grow in a way where when they leave Ailey II, there’s no question that they’ve received two years of grooming and training in the most professional way.

Keep up with Ailey II on the road this season at  www.alvinailey.org/aileyiitour

Top photo: Ailey II’s Troy Powell. Photo by Eduardo Patino

January 2012 will kick off the momentous 80th Anniversary of Jacob’s Pillow Dance Festival, a National Historic Landmark, National Medal of Arts honoree, and America’s longest-running international dance festival. Founded in 1933 by modern dance pioneer Ted Shawn as a retreat for his company of Men Dancers, Jacob’s Pillow has been a mecca of dance for eight decades. Nestled in the beautiful Berkshire Hills of Western Massachusetts, “the Pillow” is acclaimed for its rich history, unique and beautiful location and atmosphere, and forward-thinking international programming of the highest quality. The international celebration of dance, music, the visual arts, and culture begins June 16 with the 80th Anniversary Season Opening Gala and continues through August 26.

The 80th Anniversary Season includes an impressive blend of world premieres, U.S. premieres, live music, company debuts, legendary dance companies, emerging choreographers, and more than 300 ticketed and free events, talks, performances, classes, exhibits, and tours hosted at the Pillow’s 163-acre National Historic Landmark site.

Bill T. Jones/Arnie Zane Dance Company in Story/Time. Photo Paul B Goode

Executive and Artistic Director Ella Baff comments, “The 80th Anniversary Season celebrates Jacob’s Pillow’s history-making contributions to dance over eight decades, beginning with early 20th century pioneers Ruth St. Denis, Ted Shawn, and the Men Dancers. This year’s Festival also affirms the Pillow’s steadfast commitment to new and important dance-makers and performers, as well as unique presentations that give artists and audiences opportunities to discover new things about dance. There is no other place like Jacob’s Pillow; it is truly unique. It is a destination – a nexus for dance that generates inspiration and is enjoyed by people from all over the world as well as right down the road. We look forward to welcoming everyone to this year’s particularly special Festival.”

Baff affirms her dedication to presenting dance of many forms and styles from around the world with an 80th Anniversary Festival that features companies spanning nine countries and five continents: Australia, Brazil, Canada, China, Finland, France, Germany, Israel, and the United States. The Hong Kong Ballet, Morphoses, and Vertigo Dance Company are among many troupes that will make their Jacob’s Pillow debuts. Companies with historical connections to Jacob’s Pillow include The Joffrey Ballet, returning for the first time in nearly 50 years, and Canada’s Royal Winnipeg Ballet, which made its 1964 U.S. debut at the Pillow.

Once-in-a-lifetime engagements will also be presented. A weeklong homage to Ted Shawn and his Men Dancers will feature a 20-member cast of some of the greatest male dancers and choreographers of today including Lar Lubovitch, Jason Samuels Smith, Arthur Mitchell, David Neumann, Trent Kowalik, Cartier Williams, and Jock Soto, among many others.

Historic Ted Shawn Theatre at Jacob's Pillow. Photo Christopher Duggan

Three specially selected “Back by Popular Demand” productions will be discovered anew by audiences. Ella Baff comments, “I hope to encourage the public to consider more contemporary dance works as classics, to be revisited in the same way that we enjoy and deepen our appreciation for classic works of music, theatre, and the visual arts.” This series includes Tero Saarinen’s powerful Shaker-inspired Borrowed Light, which premiered in the U.S. at the Pillow in 2006; 2011 Jacob’s Pillow Dance Award recipient Crystal Pite’s stunningly accomplished work Dark Matters; and Doug Elkins’ insightful and hilarious Fräulein Maria, first performed at the Pillow in 2009.

At The School at Jacob’s Pillow, faculty includes an extraordinary range of master artists: Michael Corder formerly of the Royal Ballet; Judith Jamison, Artistic Director Emerita; Ariel Freedman of Batsheva Dance Company; Jose Manuel Carreño, recently retired from American Ballet Theatre; Cynthia Harvey, former star of The Royal Ballet and American Ballet Theatre; tap legend Dianne Walker; and many others.

While the Festival is a centerpiece of the 80th Anniversary Year, programming takes place year-round. Throughout the year, new additions are constantly contributed to Virtual Pillow, an ever-growing online collection including PillowTalks, educational resources, Jacob’s Pillow Dance Interactive, and contemporary and archival dance videos, which have amassed more than 800,000 views to date worldwide. Artist residencies bring the innovative Jacob’s Pillow Curriculum in Motion® program to schools, using movement to advance and enhance classroom learning for students and teachers. Visiting scholars and fellows from around the world use the Jacob’s Pillow Archives as a vast and unique resource for significant dance research.

Wei Wei and Jin Yao of the Hong Kong Ballet. Photo Gordon Wong

Year-round Creative Development Residencies support artists as they create new work in the Pillow’s retreat-like setting; these new works often premiere at the Pillow. On March 24 and 25, the Pillow and MASS MoCA will co-present Australian contemporary company Chunky Move in their newest production, Connected.

A signal Anniversary celebration includes the release of Never Stand Still, a feature-length documentary about dance, dancers, and Jacob’s Pillow by award-winning director Ron Honsa, narrated by Bill T. Jones. The film will make its New York City premiere at the 2012 Dance on Camera Festival on January 27.

www.jacobspillow.org

Top photo: Erica Essner Performance Co-Op performing as part of the free Inside/Out performance series at Jacob’s Pillow. Photo Christopher Duggan

By Emily Yewell Volin.

I had the pleasure of speaking with Matthew Rushing, 19 year veteran performer of the Alvin Ailey American Dance Theater, early on a Friday morning in September.  His humility, humor, passion for dance and well rounded talents were apparent during our conversation as we spoke about his transition from principal performer to Rehearsal Director at AAADT. 

What qualities do you have that make you so well suited for the transition from performing dancer to Rehearsal Director? 
My undying love for the AAADT organization and my desire to share it are the qualities that make me suited for this transition. When I was young, it was a dream of mine to join the Ailey company.  My dream has come true and I feel my love and passion for AAADT has matured.   I will take this with me in my new position as Rehearsal Director.

During  my 19 years in the AAADT Company, I’ve learned a great deal about the company’s repertoire and the function of the organization.  I was able to play an important principal dancer role at AAADT and learned ballets that were created on me.  That learning of the ins and outs of the ballets and of the Company  structure have prepared me to fit right into a leadership role for AAADT. I have also already had experience working under Ms. Jamison to assist ballets and have helped run rehearsals for Assistant Artistic Director, Masazumi Chaya.

How are you finding balance between the artistic and technical demands of performing Company member and Rehearsal Director as you prepare for this season?
At the beginning of summer it was understood by myself and management that I would dance and be Rehearsal Director this year and I was up for the challenge.  After taking some time to really think about it, I spoke with Ms. Jamison and we agreed  I would benefit from a little time to transition.  I will be performing in AAADT’s 5 week NY City Center Season but will not be dancing during this year’s Fall UK tour. 

What are your most important goals as you make this career transition?
I look forward to learning about the work on a deeper level and gaining a broader perspective of the repertoire.  I aim to preserve the work while ensuring the dancers stay true to the work.  I want to be another eye for the dancers and help them grow as artists and dancers, guiding and aiding them both artistically and with their technical work within the repertoire.

Matthew Rushing in Maurice Bejart's 'Firebird'. Photo Paul Kolnik

Describe your work load this year. 
The beginning of the rehearsal season was very interesting.  Geoffrey Holder was reviving The Prodical Prince and I assisted him during those rehearsals.  Holder personally coached me when I danced the role in 1998 so I knew that ballet very well. 

However, I find that during most weeks, I do a lot of Rehearsal Director homework at night so I also have time to concentrate on staying in shape for my final season dancing with AAADT. 

I find one of the most incredible experiences as Rehearsal Director is to be working so closely with Ms. Jamison.  She’s been directing the Company since 1989 and I’ve previously assisted her on rehearsing ballets.   The way I am working with her now, in my role of Rehearsal Director, is much different because I am hearing her thoughts as I sit right next to her during rehearsals.  I hear her likes, her dislikes, and what she wants to see more of.  It’s really amazing getting more inside her head.

When and how did you realize you were ready to transition from 19 year performer with AAADT to AAADT rehearsal director?   
I remember first mentioning the idea to Rehearsal Director, Masazumi Chaya, when I was about 24 years old and had only been dancing with the Company for 5 or 6 years.  I was so young and he very generously began teaching me the basics of casting and directing.  Then, I let the idea go a bit to concentrate on my dancing. All these years later I spoke with Ms. Jamison, mentioning that soon I’d be retiring from the stage and that I want to retire at a certain high level.  I want to hang up my dancing shoes while I’m not on the way down.  (he chuckles)  These conversations with Ms. Jamison led to an invitation for me to become Rehearsal Director.  I had known it was time to transition but I wasn’t ready to leave the company.  I dabble in choreography, and love working with young people.  Yet, the complete vision for my future with the Company became clear with Ms. Jamison’s invitation to step into the role of Rehearsal Director.  I feel really good about my last performance season happening during the same season that honors Ms. Jamison in her final year as Artistic Director.  That’s very special for me.

What are your favorite responsibilities as performer and rehearsal director?
My favorite responsibility as a performer is sharing.  I really enjoy just totally exposing myself on stage.  It’s funny, because I’m not that way off stage.  I love tearing myself wide open and sharing – touching people’s hearts, as Ms. Jamison says.  Changing peoples’ lives and leaving people on a higher level than when they entered the theater…that’s my favorite responsibility as a performer.

As a Rehearsal Director, my favorite responsibility is assisting dancers as they grow into better artists. I don’t think I’m yet working at the capacity I want and I think that’s a good thing.  There are so many things I want to learn and I’m slowly gaining responsibilities.  Step by step, day by day learning.  I’m taking every little responsibility I get and doing the best I can with it.  And, I’m looking forward.

There is much excitement regarding Robert Battle’s appointment as Artistic Director of AAADT upon Judith Jamison’s retirement from the position in June 2011.  How do your 19 years of performance experience with the Company and this year’s dual role of performer and Rehearsal Director shape your perspective during this transitional year in Artistic Direction of AAADT?
My perspective has been shaped because I know the strengths of the organization and I know that in this kind of transition that everything will be alright.  If anything, things will continue to progress.  Believe it or not, I believe the Company will get better and better and reach more lives; new perspectives.  Yes!  And, that’s what Ms. Jamison wants.  She feels the focus and dedication will still be Mr. Ailey’s vision as seen through different eyes.  Because I’ve been with the Company for so long I understand what goes into the marketing, the financing, the assurance of physical therapy for the dancers…the WHOLE Alvin Ailey American Dance Theater organization is dedicated to preserving Mr. Ailey’s vision. Robert Battle has strong support from the organization and is part of a very capable team.

Matthew Rushing, Briana Reed & Rosalyn Deshauteurs in Alvin Ailey's Revelations. Photo Andrew Eccles.

What accomplishments have given you the most satisfaction in life? 
I think touching the lives of young people.  I just recently received a couple of emails expressing thanks from two students with whom I worked closely at the Ailey School.  Both have gone along to work in dance Companies in both the US and Europe.  I received the emails at a very important time.  Right now I am an unseen worker and am getting accustomed to life behind the scenes.  It was so good to hear from these students and to be reminded that whatever I give I receive; in sharing it I have positively impacted people’s  lives. It made me feel so good.  These young people will be good to others in turn, by continuing to share the power of art and by touching lives.  Being reminded that what you have done has touched people’s lives and is important to them is very special to me. 

How would your colleagues in the Company describe you?
I’m very blessed to say I have a really good working relationship with the dancers.  I’ve been there so long and have close relationships with the senior dancers.  We’ve really grown up together and know each other like family.  As far as the newer company dancers, I’m intrigued by them.  The new dancers bring such an energy to the Company and their newness is a breath of fresh air for me.  I’m attracted to them and we immediately build relationships.  I tell them, ‘If you need anything, you know I’m here’.  Overall, I have a great working relationship with all the Alvin Ailey American Dance Theater dancers.  They’d say I’m supportive and they’d say I’m a hard worker.  They’ve seen my work ethic and they know what I expect from them as Rehearsal Director.  They know me as a choreographer and how I expect excellence.  They also know they can talk to me, share things, ask questions and approach me about challenges they are facing relating to or outside of the Company.  They are comfortable confiding in me and that means the world to me.

What advice do you have for dancers considering or experiencing a career transition from performing to directing?
Make sure that whatever you transition into creates as much passion in you as your old job.  A transition is not a step down; it is a step UP.  A lot of people feel ‘oh, okay, my performing career is over, let me settle for another job, the best time is over’.  That does not have to be the case!  Your transition should be upward.  Use the opportunity to become physically less active but emotionally more active.  Enjoy finding ways to utilize the different aspects of yourself and your talents.

Matthew Rushing will be performing during  Alvin Ailey American Dance Theater’s 5 week New York City Center Season (December 1-January 2)
AAADT 2010-2011 International and National Tour Schedule 

For more information about Matthew Rushing visit www.alvinailey.org

Top photo: AAADT’s Matthew Rushing. Photo by Andrew Eccles

Published by www.danceinforma.com

Fox Theater, Atlanta
February 19th

By Emily Yewell Volin

Alvin Ailey American Dance Theater brought their 2010 North American Tour to Atlanta’s Fox Theater from the 18^th to 21^st of February.  Friday night’s program highlighted the best of 20 years of Judith Jamison’s artistic direction.  The three act performance indulged the audience with hallmark images honoring the Company’s overarching philosophy “to promote the uniqueness of the African-American cultural experience and the preservation and enrichment of the American modern dance heritage.”  Jamison was appointed Artistic Director of Alvin Ailey American Dance Theater in December 1989 at the request of her mentor, Alvin Ailey, who personally chose her to succeed him before his untimely death.  Her steadfast commitment to maintain Ailey’s philosophy was paramount throughout the evening.

The ballets of the first two acts (not including In/Side) were excerpts restaged by Masazumi Chaya, with the exception of North Star which was restaged by Ronni Favors. The surprisingly seamless format honorably captured the essence of the complete works.  The quick pace of the program lent a palpable anticipation to an evening that despite its dabbling in so many eclectic performances from Jamison’s 20 years of direction justified Alvin Ailey American Dance Theater’s reputation for virtuosity in concert modern dance.

Linda Celeste Sims and Glenn Allen Sims in Revelations. Photo Andrew Eccles

Alvin Ailey American Dance Theater’s repertoire is pure, soulful and precise.  Riveting examples of these qualities were found in Rosalyn Deshauteurs’ gritty performance of Ronald K. Brown’s GRACE (1999) and Linda Celeste Sims’ feather light rendition of the Sweetheart/Mother/Wife in Donald McKayle’s Rainbow Round My Shoulder (1959).  North Star (1978), created by Lar Lubovitch, presented a morphing quartet acting as a single entity.  Individual tossing qualities juxtaposed with meticulous group work fed the overall sense of unison despite adversity. The performances of complicated characters found in Frames (Dwight Rhoden, 1992) and Bad Blood (Ulysses Dove, 1984) were candidly kinetic and Samuel Lee Roberts’ performance in Robert Battle’s IN/SIDE(2008) expressed anguish through exquisitely executed lightning fast transitions and breathtaking suspensions.

The second act’s most captivating performances were Jukebox for Alvin (Garth Fagan, 1993) and Polish Pieces (Hans van Manen, 1995).  Matthew Rushing’s performance in Jukebox for Alvin was intimate and technically thrilling; whereas Rachel McLaren and Jamar Roberts were marvelously statuesque and intriguingly paired in Polish Pieces.

 Revelations was performed in its entirety as the evening’s third act.  This familiar journey was a wonderful tribute to the company’s roots.  The dancers’ authenticity of emotion, reverence, and raw skill are showcased in this work created by a 29 year old Ailey in 1960.  The “Blood Memories” he drew upon to create this popular and critically acclaimed work strike contemporary resonance, making Revelations the cornerstone of this company and as poignant as ever.

The 2010 Alvin Ailey American Dance Theater North American Tour showcases the past while setting the stage for the future.  What a thrilling way to honor Jamison’s 20 years of Artistic Direction.

For tour dates and schedules visit www.alvinailey.org/page.php?p=tour&v=9&sec=schedule