This week is the last chance to see favorite dancers Alicia Graf Mack, Antonio Douthit-Boyd and Kirven Douthit-Boyd of Alvin Ailey American Dance Theater. Sigh. All three will relocate to St. Louis after this season. (I always loved Alicia’s "Why I Dance.") We’re now in the second week of Ailey’s two-week season at the Koch Theater, so there’s still time to see these three dancers—their farewell performances are on June 21—and the rest of this terrific company in their expanded repertoire.
I saw a smashing program last night of four pieces that repeats on Thursday. First, the plunging-into-ice-water shock of Wayne McGregor’s knotty, exhilarating Chroma. Second, Ron Brown’s enduring Grace, a ceremonial invocation inflected with earthy, West African oppositions. Third: Robert Battle’s short, zesty, witty Takademe, performed with awesome precision and power by Jamar Roberts (read about the magnificent Roberts in our recent cover story.) And finally, Revelations. Ah Revelations. It was a special treat for me to be sitting with two young men who had never seen it live before (one of them being my son). Matthew Rushing’s spine is like a wave in the water in "Wade in the Water." And I realized that I love every step in "Rocka My Soul." The encore had us all jouncing and clapping in our seats.
Revelations. Photo by Manny Hernandez.
(I talked about other recent works like Hofesh Shechter’s Uprising, Jacqulyn Buglisi’s Suspended Women and Matthew Rushing’s Odetta in this posting.)
Christopher Wheeldon’s ethereal After the Rain has its last viewing on Saturday. Exodus, Rennie Harris’ world premiere, which I haven’t seen yet, repeats this Friday, Saturday and Sunday.
A special bonus for Ailey goers this week: In your program will be an invitation to take a class at Ailey Extension for free! To find out more, click here. For a full schedule of the season, click here. See the company now, before they go off to Paris and South Africa!
Essential oils sometimes get a bad rap.Between the aggressive social media marketing for the products and the sometimes magical-sounding claims about their healing properties, it's easy to forget what they can actually do.But if you look beyond the pyramid schemes and exaggerations, experts believe they have legit benefits to offer both mind and body.
How can dancers take advantage of their medicinal properties? We asked Amy Galper, certified aromatherapist and co-founder of the New York Institute of Aromatic Studies:
Karen Azenberg, a past president of the Stage Directors and Choreographers Society, stumbled on something peculiar before the union's 2015 move to new offices: a 52-year-old sealed envelope with a handwritten note attached. It was from Agnes de Mille, the groundbreaking choreographer of Oklahoma! and Rodeo. De Mille, a founding member of SDC, had sealed the envelope with gold wax before mailing it to the union and asking, in a separate note, that it not be opened. The reason? "It is the outline for a play, and I have no means of copyrighting…The material is eminently stealable."