Venue Details

544 Star Starred
New York City Center
131 West 55th Street New York City, NY 10019
Venue website Get directions

Member Tips

dress

Casual
1 said this

travel

Take public transit
1 said this
Goldstar Member
As well parking was available at meters starting at 7:00 pm which was more than enough time to walk the 2 blocks to the theater and was a lot cheaper even at inflated NYC meter rates.
info Dec 20 2013 star this tip starred
Goldstar Member
The weather was cold!. I wore dress sweater and nice jeans with dress leather boots..
dress Jan 01 2014 star this tip starred
Goldstar Member
Central Garage on 56th St. betw. 6th and 7th gives discount with City Center tickets
travel Jan 02 2014 star this tip starred
Goldstar Member
Buses run very frequently & stop at corner of 5th Ave. & W 55th St. Subway at corner of 55th St & 7th Ave. Many restaurants, all prices to choose from, on 55th St. Neighborhood seems very safe. Wear whatever you want. Theatre is awesome. Great to be amongst dance lovers in the audience.
travel Jan 07 2014 star this tip starred

Reviews & Ratings

76 ratings
4.9 average rating
  • 68
    5
  • 6
    4
  • 1
    3
  • 1
    2
  • 0
    1
8 events
6 reviews
8 stars
attended Dec 19 2013

The seats were excellent. While I'm not a dance enthusiast or critic I did enjoy this show. The audience was very involved and obviously understood what was going on... continued

star this review starred report as inappropriate
6 events
4 reviews
9 stars
attended Jan 01 2014

I bought tickets for myself and three friends. It was their Christmas and birthday gift. We arrived three hours early to pick up tickets and have dinner. We at at Pazza... continued

star this review starred report as inappropriate
3 events
2 reviews
0 stars
attended Dec 19 2013

Seats were close but too far off to the side. The performance
was spectacular !

star this review starred report as inappropriate
View All 48 Reviews
More Information

Website

http://www.alvinailey.org/

Description

December 31, 2013 at 7:00pm – New Year’s Eve Performance:

Ring in 2014 with an exceptional New Year’s Eve performance featuring Pas de Duke, Four Corners, Petite Mort and Revelations danced by beloved Ailey stars of the past and present, including Guillermo Asca, Elizabeth Roxas Dobrish, Linda-Denise Fisher-Harrell, Renee Robinson, Donna Wood Sanders and Dudley Williams.

*January 1, 2014 at 7:30pm:

*_Another Night

Kyle Abraham, one of the most in-demand young choreographers today, presents a richly inventive contemporary jazz piece that showcases the artistry and versatility of the Ailey dancers.  _Another Night was inspired by the legendary drummer Art Blakey’s interpretation of the jazz classic “A Night In Tunisia” by Dizzy Gillespie.

_

Strange Humors

Equal parts comedic and combative, Artistic Director Robert Battle’s _Strange Humors is an eccentric, jocular display for two dancers.  Composer John Mackey, with whom Battle is a frequent collaborator, provides a fiery score propelled by elements of African hand drumming and Middle Eastern folk music.

_

Grace

One of the most popular works in the Ailey repertory, Ronald K. Brown’s spellbinding _Graceis a fervent tour-de-force depicting individuals on a journey to the promised land. 

_

Revelations_

Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul. 

*January 3, 2014 at 8:00pm:

*_Arden Court

Ailey honors the modern dance tradition with Arden Court_, a bucolic masterpiece by Paul Taylor.  It is the first work by this illustrious dance master to enter the Ailey repertory. Set to a series of excerpted symphonies by baroque composer William Boyce, Arden Court allows for the Ailey dancers to be at once both playful and majestic. 

_

Home

__Home_, choreographed by bold hip-hop choreographer Rennie Harris, is inspired by the stories of people living with or affected by HIV.  Drawing upon poems and images submitted in 2011 to the Fight HIV Your Way contest, an initiative of Bristol-Myers Squibb, Harris created a compelling work that conveys both the chilling isolation and uplifting sense of community many experience.

_

Minus 16_

Featuring an eclectic score ranging from Dean Martin to mambo, techno to traditional Israeli music, Ohad Naharin’s Minus 16 uses improvisation and Naharin’s acclaimed “Gaga” method, a unique movement language that breaks down old habits, pushing the dancers to challenge themselves in new ways.  

January 4, 2014 at 8:00pm:

_Four Corners

In Ronald K. Brown’s _Four Corners, 11 dancers depict spiritual seekers amid four angels standing on the corners of the earth, holding the four winds. In creating his fifth commission for the Ailey company since 1999, the celebrated choreographer turned to the song “Lamentations” by his friend, recording artist Carl Hancock Rux. Drawing from West African and modern dance influences, Brown uses grounded, earthy movements to portray figures who are burdened by grief but ultimately find peace, solace, and freedom with the aid of “the angels in their corners” mentioned in Rux’s text.

_

Episodes

Ulysses Dove’s Episodes is a starkly passionate interpretation of the power struggles involved in human relationships.  Set to a sparse, percussive score by Robert Ruggieri with the choreography contained along two diagonally-lit paths, private battles between the sexes play out for all to see onstage.  Moments of tension, explosive confrontation, and unresolved longing are drawn out as duos partner with complete abandon.

LIFT

_This propulsive world premiere by in-demand choreographer Aszure Barton accentuates the vitality and physical prowess of the Ailey company. Driven by the dancers’ passion, skill and collective power, the work was created over a 5-week developmental process with the entire Company. The percussive score, composed by Curtis Macdonald, is infused with the infectious energy and heart that she observed in her initial encounters with the Ailey dancers.