Alvin Ailey American Dance Theater Takes the Stage in Chicago
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The last date listed for Alvin Ailey American Dance Theater was Friday April 13, 2012 / 7:30pm.
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*Program A (2 hrs, 7 min): *
April 11 at 7:30pm, April 13 at 7:30pm, April 14 at 8:00pm
Arden Court**/Minus 16**/Revelations
*Program B (2 hrs, 1 min): *
April 12 at 7:30pm, April 14 at 2:00pm, April 15 at 3:00pm
*Ailey Chicago Premiere
**Ailey Company Premiere
Arden Court For the first time, the Ailey dancers will perform a work by the modern American genius Paul Taylor. Set to William Boyce’s sumptuous baroque score, this romantic masterpiece has been hailed by The New York Times for “the irresistible pleasure of its dancing.”
*Home *(World Premiere) The bold hip-hop choreographer Rennie Harris returns to the Ailey company to create a new work set to a soul-lifting score of gospel house music and inspired by the stories of people living with or affected by HIV.
Memoria (1979) Mr. Ailey’s tribute to the life of Joyce Trisler, his memories and image of her. Alvin Ailey wrote: “It’s interesting how my personal relationships affect my creativity. It seems as though nearly all of my dances have some basis in an event or a feeling I’ve had that I can usually trace.” In the tumultuous time of 1979 when Mr. Ailey’s great, perennial friend from his Lester Horton days, the choreographer Joyce Trisler, died prematurely, he began choreographing Memoria_. Later, he wrote "_Memoria is about Joyce’s life, my memories of her, my image of her. Although these are very abstract images, nobody has ever asked me what Memoria is about. People everywhere understand it. Making the dance was a very deep and wrenching experience for me." The ballet is structured in two parts — “In Memory” and “In Celebration” — to the sublime music of Keith Jarrett. Memoria marked the first time Mr. Ailey combined Alvin Ailey American Dance Theater with Ailey II, and advanced students from The Ailey School.
Minus 16 A delightfully eclectic score ranging from Dean Martin to mambo, techno to traditional Israeli music propels Ohad Naharin’s phenomenally inventive piece. Breaking down the barrier between audience and performer, this work, unlike any other in the Ailey repertory, challenges the dancers to improvise and invite the audience to participate in the experience by joining the dancers onstage.
Revelations (1960) Alvin Ailey’s signature masterpiece, this enduring classic is a tribute to that heritage and to Ailey’s genius. Using African-American religious music-spirituals — this suite fervently explores the places of deepest grief and holiest joy in the soul.
Takademe One of Mr. Robert Battle’s first creations, this bravura work mixes humor and high-flying movement in a savvy deconstruction of Indian Kathak dance rhythms. Clear shapes and propulsive jumps mimic the vocalized rhythmic syllables of Sheila Chandra’s syncopated score.