Jawole Willa Jo Zollar's Shelter addresses homelessness. Photo by Paul Kolnik, Courtesy Ailey
Just in time for its summer season at Lincoln Center, the dancers and management of Alvin Ailey American Dance Theater have settled their issues surrounding the performers' union contracts.Now that they've reached a new collective bargaining agreement, the dancers can sail into this weeklong season of nine ballets. (Well, maybe not sail, since this is some of the hardest repertory on earth.)
The first is sweet, sensual and inventive. Watching this video clip of Jamison's piece, gorgeously danced by Jamar Roberts and Jacqueline Green, makes you feel like you're falling in love too.
The second piece is hard-hitting. It takes guts to put a gritty reality onstage when you know that people go to the theater—especially Lincoln Center—just to sit back and enjoy themselves. Zollar reveals the rage and exhaustion of people in this situation and, at the same time, uncovers a kind of sisterhood among them.
Also on the program is a world premiere by Jessica Lang, EN, that is influenced by Japanese culture.
Work by one more woman choreographer appears in this season—Twyla Tharp. Her magnificent Golden Section, originally the finale of The Catherine Wheel (1983), rides along on an exciting momentum of split-second tosses and falls to music by David Byrne. It's fast and furious, with an array of near collisions. It shares a program with Roberts' recent Members Don't Get Weary, which we visited in rehearsal last fall.
For more information on this five-day season, June 13–17, click here.
Devon Teuscher performing the titular role in Jane Eyre. Photo by Gene Schiavone, Courtesy ABT
Story ballets that debut during American Ballet Theatre's spring season at the Metropolitan Opera House are always the subject of much curiosity—and, sometimes, much debate. Cathy Marston's Jane Eyre was no different. The ballet follows the eponymous heroine of Charlotte Brönte's novel as she grows from a willful orphan to a self-possessed governess, charting her romance with the haughty Mr. Rochester and the social forces that threaten to tear them apart.
While the ballet was warmly received in the UK when Northern Ballet premiered it in 2016, its reception from New York City–based critics has been far less welcoming. A group of editors from Dance Magazine and two of our sister publications, Dance Spirit and Pointe, sat down to discuss our own reactions.