Displaying items by tag: Robert Battle

Sustaining legacy is no simple task, especially when considering the arts.  How do you preserve continuity of spirit while simultaneously establishing artistic harmony with the past, present and future?  Knowledge, skill and vision at the top are always critical.  But there are other intangibles that ultimately determine long term success.

When Robert Battle unexpectedly announced he could no longer act as artistic director for Alvin Ailey American Dance Theater in 2023 for health reasons, one of the most accomplished and revered dance companies in the United States began a search to fill a pair of epic shoes. Since its inception in 1958, nearly 70 years ago, the company has only had three artistic directors, Mr. Ailey himself, his designated successor and former principal Ailey dancer, Judith Jamison, and Mr. Battle whose initial association with the Ailey company was that of a guest choreographer. He’d go on to distinguish himself as a master in his field.

Late in 2024, Alvin Ailey Dance Theater chose Alicia Graf Mack, at the time director of the dance division at Juilliard, to become its fourth artistic director.  She began her tenure as Ailey’s new artistic director in July last year. 

Mack’s background and credentials are all exemplary and on their own portend a fruitful stewardship.  Born in California and raised in Columbia Maryland, her parents, one Jewish the other African-American, were socially engaged academics who encouraged their children’s creative interests.  Mack trained in ballet and by 17 was accepted into Dance Theater of Harlem where, at nearly 6’ tall and willowy, her height and grace contributed to building her celebrity.  Consequential injuries necessitated that she quit dance, leading her to acquire a History degree at Columbia University. 

After finishing Columbia, Mack returned to the Dance Theater of Harlem where the company’s financial difficulties made her homecoming brief. Applying to the American Ballet Theater and being rejected because of her height, she approached the Ailey company where she was not only accepted into the company, but she was also “embraced” in her totality. 

Artistic Director Alicia Graf Mack. Photo by Andrew Eccles.

Her initial time with Ailey, from 2005 and 2008, allowed Mack to explore and hone other dance styles more deeply and to intellectually mature as a dancer.  After leaving the company to obtain a degree in non-profit management at Washington University in St. Louis, she returned to Ailey in 2011 where she enjoyed notable success as one of its premier dancers until 2014.   Mack then redirected her career and devoted it to education.

At a luncheon held in her honor at Chicago’s Auditorium Theater earlier this year, Mack talked about the people and experiences that led her from being an aspiring teenage dance professional to heading one of the world’s leading dance organizations. As she recounted her past, the emotional intelligence and natural humility she’s noted for were readily apparent.  In her remarks, the new artistic director recognized the wealth of experience, knowledge and talent resident in the Ailey staff and stated she would be relying on those resources to help her fulfill her mission.  She also credited the mentorship she received from dance titans, including Ms. Jamison, pioneering Black ballerina Lorraine Graves and the legendary Carmen de Lavallade.  The advice and counsel they all shared will prove valuable assets for the future.

Just as she balanced the need to adapt to tomorrow while respecting heritage at Juilliard, Mack addressed doing much the same in her new role with Ailey.  Not only is she mindful in honoring the “Ailey aesthetic”, but she also shared her interest in bringing in new choreographic voices to complement, expand and enhance the principles and values Mr. Ailey displayed in his work and that of the choreographers he admired.

Providing avenues for dancers to achieve fulfillment in their craft is also central to Mack’s mission.  One she’s shown to advance through an ethos of affirmation. 

As the climax to the Auditorium’s 2025-2026 Celebrating Women in Dance season later this month, the Alvin Ailey Dance Theater engagement at the theater is a welcome to Ms. Mack.  The three-day run will see two programs performed.  In addition to Alvin Ailey’s classic Revelations and an excerpt from Judith Jamison’s 2005 Reminiscin’, the remaining five dances are contemporary creations of pioneering luminaries in choreography.  All five works saw their world premieres in 2025.

This year's Alvin Ailey American Dance Theater 65th-anniversary engagement at Chicago's historic Auditorium Theatre held particular importance as it marked the company's first season after Artistic Director Robert Battle's departure. Battle was only the third person to lead the company in its 65-year history, following Alvin Ailey and Judith Jamison. During this transitional period, Matthew Rushing is serving as Interim Artistic Director. Despite these changes, the program offered a dynamic evening of dance, featuring both iconic works and innovative new pieces.

The performance opened with a vibrant expression of grace, patience, and elegance in Ronald K. Brown's "Dancing Spirit."  A dancer gracefully moves through a sequence of elegant arm extensions while standing in a spotlight upstage. Soon, other dancers join in, echoing the movements with slight variations. The pulsating African-diasporic soundscape fueled the dancers, clad in tie-dyed blue and white dresses and separates. They moved with a reverent, almost ecstatic joy. "Dancing Spirit" served as a potent reminder of the company's deep connection to its African American heritage and as a homage to Artistic Director Emerita, Judith Jamison.  The exceptional cast of dancers, Hannah Alissa Richardson, Deidre Rogan, Coral Dolphin, Jacquelin Harris, Solomon Dumas, Christopher Taylor, Christopher R. Wilson, Michael Jackson Jr., and Xavier Mack brought the stage to life with their extraordinary performances.  Throughout the performance, glimpses of the opening are interwoven into the choreography, leading to a jubilant finale. The music selection, featuring compositions by Duke Ellington, Wynton Marsalis, Radiohead, and War coupled with the lighting design by Clifton Taylor provided a rich and dynamic backdrop that complemented the dancers' artistry and passion.

Alvin Ailey American Dance Theater in Kyle Abraham's Are You in Your Feelings

Kyle Abraham's "Are You in Your Feelings?" marked an emotional shift in the performance, presenting a sexually and emotionally charged piece that contrasted with the regal opening. The dancers, dressed in jewel tones of indigo, ruby, emerald, citrine, and amethyst by costumer Karen Young, explored themes of vulnerability and self-discovery, navigating the complexities of finding and losing love. Abraham's choreography emphasized nuanced gestures and emotional authenticity, with the dancers expressing a range of emotions, including longing, frustration, jealousy, contempt, same-sex and self-love. Their performances featured voguing duckwalks, fluid body waves, and other sensual movements. The narrative was supported by modern music choices, including Erykah Badu's soulful "I'll Call U Back" and Jhené Aiko's tender "While We're Young," as well as classics like The Flamingos' "I Only Have Eyes for You" and Shirley Brown’s “Woman to Woman” and contemporary tracks such as Kendrick Lamar's "LOVE”.  The featured dancers included Caroline T. Dartey, Solomon Dumas, Samantha Figgins, James Gilmer, Ashley Kaylynn Green, Michael Jackson, Jr., Renaldo Maurice, Ashley Mayeux, Corrin Rachelle Mitchell, Chalvar Monteiro, Miranda Quinn and Deidre Rogan. Ultimately, this introspective work offered a profound glimpse into the emotional complexities of the human experience.

The program culminated with the iconic "Revelations," a cornerstone of the Ailey repertoire. Divided into three sections, “Pilgrim of Sorrow”, “Take Me To The Water” and “Move, Members, Move”, each section represents different aspects and experiences in the African American Southern Baptist worship. From the prayers for salvation in “Didn’t My Lord Deliver Daniel”, the baptism in “Wade in the Water,"  and the congregate of members in “Rocka My Soul in the Bosom of Abraham “ each section resonated with emotional depth. The dancers delivered powerful performances, their bodies embodying the struggle, resilience, and spiritual fervor depicted in the music.

Ailey once said in an interview. “I’m interested in putting something on stage that will have a very wide appeal without being condescending; that will reach an audience and make it part of the dance; that will get everybody into the theater. If it’s art and entertainment—thank God, that’s what I want to be.”   

The audience erupted in a standing ovation, a testament to the enduring power of this groundbreaking work.  Ailey's choreography remains a potent portrayal of the African American experience, weaving spirituals, and gospel music into a moving journey.

While Artistic Director Robert Battle's absence will certainly be felt, the company will navigate this transitional period with grace. The program's curation, showcasing established masterpieces alongside contemporary voices, hints at the stability of the company.

Celebrating its 55th engagement at the Auditorium Theatre, the Ailey company's return held a special significance for Chicago audiences. The historic venue, with its ornate architecture and rich acoustics, provided the perfect backdrop for these powerful works. The palpable energy between dancers and audience offered a potent reminder of the transformative power of live dance and the importance of artistic expression, especially during times of transition.

As the curtain fell on "Revelations," one couldn't help but feel the joy of witnessing exceptional artistry and the hopeful anticipation of what the future holds for the Alvin Ailey American Dance Theater. This 65th anniversary program served as a poignant bridge between the company's rich legacy and the exciting possibilities that lie ahead.

Highly Recommended

When: Through Sunday

Where: Auditorium Theatre, 50 E. Ida B. Wells Drive

Running time: 2 hours, 25 minutes with two intermissions

Tickets: $40-$174 at 312-341-2300 and auditoriumtheatre.org