Alvin Ailey American Dance Theater in NYC for the Holiday Season
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The last date listed for Alvin Ailey American Dance Theater was Saturday January 4, 2014 / 8:00pm.
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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 Notte, an Italian restaurant around the corner on 6th Avenue. The entire...continued
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:
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.
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.
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.
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:
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_, 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.
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:
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.
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.
_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.