is going to knock your socks off. In a recent rehearsal of Aszure Barton’s new piece, I was blown away by the searing, pulsing vitality of it. The company is also taking on Wayne McGregor’s hyperactive, strangely clinical, kinetically powerful Chroma. Plus there’s Bill T. Jones’ hard-driving, exhilarating D-Man in the Waters. These three works are technically confounding for dancers—and will bring the audience at Ailey’s City Center season up to the minute in currency.
Our cover story reveals Ailey artistic director Robert Battle’s thinking behind his choices, as well as the challenges that two of his most stunning dancers, Jamar Roberts and Rachael McLaren, face with these new works. In Kina Poon’s “The New Ailey,” you’ll get a sense of how much the company has changed, and yet how much the Ailey spirit has remained an anchor.
On the other side
of the dance universe, I got to see the legendary Lyudmila Kovaleva teach class at the Vaganova Academy in St. Petersburg last June. Apparently, Kovaleva still, to this day, coaches her former student Diana Vishneva on certain roles. That gave me the idea to ask Vishneva, as well as other top dancers, about their favorite teachers, the ones who really made a difference. Read “They Taught Me To…” to learn who Ashley Bouder, Kathleen Breen Combes, Desmond Richardson, and Jason Samuels Smith cherish as the mentors who changed their lives.
Right: Rachel McLaren and Jamar Roberts in Barton’s
LIFT. By Jayme Thornton
While I watched class and rehearsals at the old Mariinsky theater, I was surprised to encounter a British dancer. I had no idea that Xander Parish had left The Royal Ballet and joined the Mariinsky. He guided me from one studio to another, and I soon realized that his story could be told quite nicely in a “Why I Dance”—which appears on our back page this month.
this is my final “Curtain Up” because I have transitioned into a role as editor at large. As you will see in “DM Recommends,” a book of my writings has just come out, and it has opened up some new opportunities for me. I am leaving the magazine in good hands, those of the very capable Jennifer Stahl. I have enjoyed working on Dance Magazine immensely.
Wendy Perron, Editor in Chief