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.

It’s no secret every new dance season is filled with its own undercurrent of anticipation. Regardless of the company, audiences who follow them silently wonder what will be the prevailing theme that will dominate a troupe’s next major performance. What attributes will signal growth and maturity.  What kind of insights are going to be shared through a gifted choreographer’s storytelling skills.  What unexpected feat of technical or physical prowess is going to once again prove dance’s unmatched ability to translate the full scope our humanity.

Some companies can always be relied on to provide brilliant responses to those kinds of musings.  Giordano Dance Chicago (GDC) is one of them and their Ignite the Soul program at the Harris Theater for Music and Dance Friday night demonstrated that even with more than 60 years’ experience dancing at the top, the growing process never ceases.  The will and desire to keep striving, learning and absorbing does much more than simply avert atrophy.  It fuels the kind of energy that invigorates everyone on the stage and in the seats.  And it enables some of the galvanizing moments found in Ignite the Soul.

A broad ranging show that spanned genres of dance and artistic temperaments, half of the program’s six dance roster consisted of works that have never previously been performed publicly.  Two of the three world premieres were made possible by donors who, not so uncommonly, prefer to remain anonymous.

The show opened with resident choreographer Al Blackstone’s Latin inspired, Sana.  Receiving its own world premier last year, the dance lives as comfortably in the realm of contemporary dance as it does jazz.  Meant to evoke notions of healing, Sana highlights the beneficence of community and the power of the collective.  Thrillingly dynamic and often probing, Stahv Danker’s original score makes for a potent force that enhances Sana’s appeal.

Over the years, GDC has fine-tuned the way it incorporates film shorts to provide supporting information about the company, its history, its dancers, the choreographers it partners with and the wealth of community initiatives it conducts.  Each season these interludes become more polished and prove more indispensable.  One preceded each of the evening’s new dance segments; providing priceless insights into what fuels a talented choreographer’s creative process.  By the time tap dancer, choreographer and arts executive Mike Minery finished his explanation on how My Kind of Girl came about, you couldn’t wait to see the world premier he collaborated with GDC’s Artistic Director, Nan Giordano, to produce for the company. 

Adam Houston and Sasha Lazarus - photo by Zach Kemper.

Through his lead in, we learn how crucial tap is to much of modern dance and how instructive it can be to a dancer’s technical foundation.  Then we were reintroduced to how therapeutic and beautiful the dance form can be when Minery himself took to the stage with GDC’s splendid Erina Ueda to enrapture the hall with a gorgeous tap duet.  In this hyper-digitized, infamously disconnected world, My Kind of Girl is as analog as a warm hug and twice as pleasing.  Loaded with dance prowess of the highest level and bathed in Frank Sinatra’s silky voice backed by Count Basie’s band, the audience couldn’t help but cheer heartily after My Kind of Girl came to its swoon worthy close. 

Following that welcome touch of sweetness, the company brought out the flame throwers with Sabroso, a 2011 torcher crafted by Del Dominguez and Laura Flores.  Quintessential Giordano in its presentation, dancers shimmied and strutted their way through a sassy half dozen Latin dance styles that came packed with plenty of sensual heat.  Flaunting knock-out sequined costumes designed Nina G., the women in the company made sultry soar while their male counterparts wrapped machismo in a thick layer of sophistication.  Adam Houston and Analysse Vance picture perfect Bolero highlighted the exceptional individual artistry dancers bring to a performance.  The kind that always guarantees delight.

Something of the transformational arrived with Jon Rua’s namuH, a dance signifying the power and importance of love at its most basic and pure.  Rua’s video explanation of his personal background and the trajectory of his career from street dancer to choreographer ideally framed the dance that followed.  The word “Human” spelled backward, namuH feels as if it has one foot in the present day and one in the future.  Bjork and Stateless’s music draw an intense landscape.  Rugged and difficult.  Coupled with neutral, utilitarian costumes worn by the dancers and you sense a sterile almost bleak world.  The energy and magnetism come from the dance and the dancers who, despite any obstacle or hardship, invariably end up leaning on each other to keep on keeping on. 

The music, the way the dance unfolds, the unorthodox movements whose origins clearly derive from the grit of urban streets, all draw you in and leave you captivated.  As rewarding as the choreography itself is, the company’s dancers give it life by fully internalizing its precepts and projecting its message so beautifully.   

This is about as far away from jazz dance as you can get, but namuH’s central theme of cohesion and co-dependence; as well as the way it helps us see the latent generosity in all of us, make it an ideal match for this venerable dance company that can shape shift so elegantly.

Excerpts of Ronen Koresh’s 2015 Crossing/Lines preceded the night’s finale and final world premiere, Dumb Luck!, choreographed by Mr. Blackstone.   A salute to the country’s upcoming 250 anniversary and an intentional lighthearted salve to our erratic times, Dumb Luck!, with its nautical pastiche and post-war verve, is a happy escape to nostalgia.  Nina G.’s period sailor outfits take you right back to the grand old days of splashy Hollywood musicals.  Coasting on jazz gold via the sounds of The Nate King Cole trio, the Manhattan Transfer, and Big Bad Voodoo Daddy, dancers cavort while maintaining tight but jaunty dance formations.

A very fine effort, strengthening the dance’s core character would make it more even more distinctive.  

Whetting the appetite for more is what Dumb Luck! and the rest of the dances making up Ignite the Soul’s program do all too well.  Placing those expectation reveries about their next stage outing on high boil once again.

Ignite the Soul

Giordano Dance Chicago

April 10-11, 2026

Venue: The Harris Theater for Music and Dance

205 E. Randolph Street

Chicago, IL  60601

For more information about Giordano Dance Chicago:  https://www.giordanodance.org

This review is proudly shared with our friends at www.TheatreInChicago.com. 

 Chicago Repertory Ballet (CRB) is proud to present an exhilarating Spring Series that celebrates reinvention and bold new voices with two World Premieres and the revival of Founding Artistic Director Wade Schaaf's The Rite of Spring, set to Igor Stravinsky's watershed score. Since its establishment in 2011, CRB has championed blending classical ballet with contemporary dance, adding its singular voice to Chicago's rich dance landscape through original, genre-bending works. Following boundary-breaking choreographic works including adaptations of The Four Seasons, Bolero, Macbeth, and most recently, the critically acclaimed Romeo and Juliet spinoff, The Capulets, the Spring Series continues CRB's exploration of contemporary classical form. CRB 2026 Spring Series takes place one weekend only, May 29 to 31, 2026, at The Ruth Page Center for the Arts, 1016 North Dearborn Street. Tickets are available at www.crbdance.com or by calling 872-588-0430.

Schaaf said, "We are excited to build on Chicago Repertory Ballet's recent success with The Capulets with a spring program that sits squarely at the intersection of ballet's past and our vision of what ballet can be. Our refreshed adaptation of The Rite of Spring – a Ballet Russe era ballet that was so revolutionary in its time that it caused riots – will be modernized again for today's audiences. The two World Premiere works Beyond the Blue Line and Pulse: ILTJ1101 boldly capture the innovations of ballet today – including inspirations from technology and outer space – making the Spring Series 2026 a thrilling exploration of what our company does best."

The evening opens with Pikieris's striking World Premiere contemporary ballet, Beyond the Blue Line. Evoking vastness, possibility, and quiet mystery, Beyond the Blue Line draws its inspiration from the horizon line where sea meets sky. Beyond the Blue Line invites audiences on a journey into openness, curiosity, and discovery, guiding us past the visible horizon and into the imaginative space that lies beyond. Known for his sweeping physicality and intricate musicality, Pikieris crafts movement both architecturally precise and emotionally expansive, demanding virtuosity while revealing the humanity of each dancer.

The program continues with the World Premiere of Schaaf's Pulse: ILTJ1101, a high-voltage fusion of neo-classical ballet and relentless techno soundscapes, propelled forward by futuristic lighting that turns the stage into a living circuit of energy. Inspired by the phenomenon of stellar radio pulses – where a collapsed star draws matter from a companion and releases it as powerful bursts of radiation – this work translates cosmic physics into visceral human motion. Dancers drive through virtuosic technical vocabulary with precision and force, their movement charged by an undercurrent of rhythmic intensity. Partnering becomes a study in exchange: weight, momentum, and energy pass from body to body as if transmitted along an invisible current. As light and sound converge with movement, Pulse: ILTJ1101 invites audiences into a futuristic landscape where classical form meets raw kinetic power; an electrifying exploration of how energy fuels motion, connection, and creation.

The evening concludes with Schaaf's crowd-pleasing The Rite of Spring, a visceral reimagining of one of the most iconic works in dance history in which a tribe selects one individual each year to perform a sacrificial rite, and must dance until death. Schaaf's production originally premiered in 2013 at The Vittum Theater and was later reworked for an outdoor performance on Crickett Hill in 2021, where the natural environment intensified its primal themes and communal tension. Now, Schaaf revisits and reshapes the 2021 version as a site-specific staging for The Ruth Page Center for the Arts, allowing the space to heighten the audience's immersion in the ritual. Driven by pounding rhythms and the relentless momentum of Stravinsky's score, the ballet highlights how group dynamics can make for fatal outcomes - an idea which remains as salient today as it was at the ballet's premiere over one hundred years ago.

ABOUT THE CHOREOGRAPHERS

Yanis Eric Pikieris is a native of Miami, Florida and began his dance training with his parents, Marielena Mencia and Yanis Pikieris, at Miami Youth Ballet. He also trained at Miami City Ballet School and with Jean-Pierre Bonnefoux and Patricia McBride at Charlotte Ballet Academy. As an apprentice with Charlotte Ballet, Pikieris performed in several company productions, including Jean-Pierre Bonnefoux's The Nutcracker and Peter Pan, Alonzo King's Chants, and George Balanchine's Tarantella. Pikieris joined Dimensions Dance Theatre of Miami in 2016 as an inaugural member of the company where he has since been featured in works by George Balanchine, Gerald Arpino, Vicente Nebrada, Septime Webre, and Ivonice Satie, among others. As a choreographer, he has created several original works for Dimensions Dance Theatre of Miami's main stage series at The Moss Center; as well as two commissions for their sister company, Ballet Vero Beach; and a world premiere collaboration with Miami-based Illuminarts and Philadelphia-based Variant 6. In 2022, Pikieris choreographed a work for National Water Dance, encouraging ongoing engagement between dance and the environment. Pikieris is now one of Dimensions Dance Theatre's Artists in Residence and is a two-time recipient of the (DMC) Dance Miami Choreographers' Program award.

Wade Schaaf (They/Them) is a Chicago native and graduated cum laude from Northern Illinois University with a Bachelor of Fine Arts in Theater Arts, with an emphasis in dance performance. Throughout their professional career, Schaaf danced with several distinguished companies including Ohio Ballet, State Street Ballet Santa Barbara, The Omaha Theater Ballet, Thodos Dance Chicago, and River North Chicago Dance Company. During their time on stage, Schaaf had the opportunity to work with an array of renowned choreographers such as Septime Webre, Stephen Mills, Frank Chaves, Laurie Stallings, and Tony Award-winning choreographer Ann Reinking. Notable roles in Schaaf's performance career include Tybalt in Robin Welch's Romeo and Juliet, the Snow King in Welch's The Nutcracker, and Jonathan in Kennet Oberly's Dracula. Schaaf also originated the role of Mayor Carter Harrison in The White City, a collaboration between Thodos Dance Chicago and Ann Reinking. After retiring from performing, Mx. Schaaf founded Chicago Repertory Ballet in November 2011. The company debuted to critical acclaim, receiving the headline review "A Bright Debut for Chicago Repertory Ballet" (Sid Smith, The Chicago Tribune). Since then, Wade has choreographed numerous acclaimed works including The Rite of Spring, The Four Seasons, Bolero, and full-length ballet adaptations of Shakespeare's Macbeth and Romeo and Juliet (The Capulets). Under Schaaf's leadership, CRB continues to pursue a bold vision: challenging conventional definitions of ballet in both form and structure to create dance that defies labels. Beyond the studio, Mx. Schaaf is passionate about visual art, health, and wellness. 

ABOUT CHICAGO REPERTORY BALLET

Founded in 2011, Chicago Repertory Ballet is dedicated to presenting artistically daring and visually striking works that engage, inspire, and challenge audiences. The company has established itself as a vital part of Chicago's arts community, earning praise for its commitment to innovation and excellence in dance. For more information about The Capulets and Chicago Repertory Ballet, visit www.crbdance.com.

South Chicago Dance Theatre (SCDT) presents its ninth annual home season performance, An Evening with South Chicago Dance Theatre, featuring three electric world premieres by award-winning choreographers Natasha Adorlee, David Dorfman, and SCDT Founder and Director of Vision and Strategy and Resident Choreographer Kia S. Smith. The four-part mixed repertory program opens with a powerful work by renowned choreographer Donald Byrd. An Evening with South Chicago Dance Theatre takes place for one night only at the Harris Theater for Music and Dance, 205 East Randolph, on Friday, May 1, 2026.

An Evening with South Chicago Dance Theatre is paired with SCDT's Inaugural Legacy Builders Benefit. Legacy Builder ticket holders are invited to attend an exclusive intermission reception and an after-party and silent disco with the artists following the performance. Tickets for the performance and benefit are available at southchicagodancetheatre.com.

"Donald, Natasha, and David are choreographers that I have admired for years. Presenting their works on the Harris stage will foster a sense of hope, connectivity, joy, light, and faith for the future as we dream together of a more equitable tomorrow. This celebratory evening advances SCDT's role as a platform for emerging and established choreographers in Chicago and beyond," says Smith.

The evening begins with It Begins, a creative fusion between the renowned choreographer behind the Broadway production of The Color Purple, Donald Byrd, and sound designer Rob Whitmer. First commissioned for South Chicago Dance Theatre in 2024, It Begins returns triumphantly to Chicago as an audience favorite.

The program continues with Smith's Suite On The Sahara, a new work conceived during SCDT's January 2026 residency at LAKE Studios in Berlin, Germany. Scaffolded by the genius of artists from the Silk Road Ensemble, the piece weaves sounds from Argentina, Morocco, Spain, and Italy, immersing audiences in a landscape flowing with light, color, passion, and a range of movement vocabularies. For this work, Smith steps away from the cerebral work of narrative building to allow her first love, music, to be at the helm of the choreographic process.

Next is the world premiere of Adorlee's Slip Force, a work that questions what structures we continue to uphold, and what becomes possible when a body no longer consents to be read, controlled, or contained. Throughout the work, Adorlee builds structures out of movement—a skeletal house, a circling train, a fragile house of cards—nodding to monuments of power and imposed systems of control. The structures are built, maintained, and repeated, despite their instability and cost. At the center, a woman appears framed within a window, suspended between artifact and entrapment. As pressure accumulates, her stillness gives way to release and acceleration, while another figure becomes newly confined. Slip Force moves between precision and unraveling, humor and severity, ultimately revealing the power of women reclaiming their voice and agency.

The evening concludes with Dorfman's Subject(s)?    Verb   Object!, a snapshot of group fervor, independence, solidarity, and joy. Addressing a moment in which we need each other more than ever, the performers embody hope and pain to fend off stasis and deceit. Kinetic and textual poetics connect the audience to an experience of feeling as alive as humanly possible, set to music ranging from spiritual and moving to a driven club frenzy. Subject(s)?    Verb   Object! is an electric celebration for people of all walks of life.

ABOUT THE CHOREOGRAPHERS

Natasha Adorlee is an Emmy Award–winning choreographer, filmmaker, composer, and educator based in San Francisco. A first-generation Asian American artist, she was the final Artistic Fellow with Amy Seiwert's Imagery and began choreographing in 2016 while cultivating an acclaimed performance career with Robert Moses' Kin, ODC/Dance, Kate Weare & Co., and the San Francisco Symphony. After her short film Take Your Time earned more than ten international awards in 2018, Adorlee became a sought-after voice in dance filmmaking, choreography, and composition. A graduate of UC Berkeley following studies at SUNY Purchase, she went on to join ODC/Dance, performing an extensive repertoire and contributing original choreography, sound design, and art direction to more than 20 works. Adorlee has since created over 20 original dance-based works across stage, film, and immersive media. She was recently commissioned by the National Choreographers Initiative (NCI) for 2025, with additional commissions from Joffrey Ballet's Winning Works, BalletX, Nevada Ballet Theatre, Kansas City Ballet, Houston Contemporary, Ceprodac (Mexico), Kawaguchi Ballet (Japan), Ballare Carmel, Ballet22, and Imagery. Her creative collaborations also include original work for Pixar Animation Studios, Oculus, National Geographic, and The New Yorker. Adorlee founded Concept o4 to produce multimedia dance experiences that expand access to the arts. Her recent honors include the Grand Prize at the 2024 Palm Desert Choreography Festival, an NEA Grant, a Dresher Fellowship, and a Jacob's Pillow Choreographic Fellowship. In 2025, she received a National Theater Project (NTP) Touring Grant in support of her new work with Crescent Moon Theater. Adorlee is currently in a prolific creative period, sharing her expertise through Dance on Camera workshops and serving as Artistic Advisor for Ballet22.

Donald Byrd is the Artistic Director of the Seattle based Spectrum Dance Theater, a TONY-nominated (The Color Purple) and Bessie Award-winning (The Minstrel Show) choreographer. He has created works for Alvin Ailey American Dance Theater, Pacific Northwest Ballet, Dance Theater of Harlem, and The Joffrey  Ballet, among others; and has worked extensively in theater and opera including The New York Public Theater, The 5th Avenue Theater, CenterStage (Baltimore), Seattle Opera, Dutch National Opera, The Atlanta Opera, The Israeli Opera, Houston Grand Opera, and San Francisco Opera. Awards, prizes, and fellowships include Doris Duke Artist Award, James W. Ray Distinguished Artist Award, Honorary Doctorate of Fine Arts (Cornish College of  the Arts), Masters of Choreography Award (The Kennedy Center), Fellow at The American Academy of Jerusalem, James Baldwin Fellow of United States Artists, Resident Fellow of The  Rockefeller Center Bellagio, Fellow at the Institute on the Arts and Civic Dialogue (based at Harvard), Rainier Club Laureate, the  Gordon Davidson Award (Stage Directors and Choreographers Foundation) and the Mayor's Arts Award for his sustained contributions to the City of Seattle.

David Dorfman has been making movement-based dance theater since graduating with an MFA in Dance from Connecticut College in 1981. In 1987, he founded David Dorfman Dance (DDD) in New York City with the intention of creating politically and socially relevant work. A lifelong educator and activist, Dorfman has been a professor at Connecticut College since 2004, where DDD is Company-in-Residence. Dorfman choreographed Broadway's "Indecent," for which he was given a Lortel Award for its Off-Broadway run; other accolades include a 2019 USA Fellowship in Dance, a Guggenheim Award, four NEA fellowships, and a Bessie Award. Dorfman's early performing years were happily spent with Kei Takei's Moving Earth and Susan Marshall & Co. Dorfman co-created and toured internationally a body of tragi-comic physical theater with Dan Froot, entitled "Live Sax Acts", and he continues to dance profusely with wife Lisa Race and son Samson Race Dorfman.

Kia S. Smith is a Chicago-born choreographer and artistic leader and the Founder and Director of Vision and Strategy, as well as Resident Choreographer, for South Chicago Dance Theatre. Under her leadership, the company has developed several signature initiatives, including the Associate and Emerging Artist Programs, South Chicago Dance Festival, the Choreographic Diplomacy™ Program, Education and Community Programs, Dancing Across Generations, and a Workforce Development program. As a sought-after freelance choreographer, Smith has created work for companies including the Lyric Opera of Chicago, Madison Ballet, Chicago Repertory Ballet, Houston Contemporary Dance Company, Chicago Opera Theater, Giordano Dance Chicago, Opera Laguna, New Dance Partners, Resilience Dance Company, Columbia College Chicago, and the Scottish Ballet School. Smith's first evening-length work, Memoirs of Jazz in the Alley, premiered at Chicago's Auditorium Theatre in 2023. She is an active member of the International Association of Blacks in Dance and received its Joan Myers Brown Artist Development Fund Scholarship in 2018. Her honors include a 3Arts Make A Wave Award (2021), the Ann & Weston Hicks Choreographic Fellowship at Jacob's Pillow (2021), and recognition as a Chicago Dancemakers Forum Lab Artist (2022). Smith was named a Rising Star by Chicago Magazine (2023), a "Player of the Moment" by Newcity (2023), and one of Dance Magazine's "25 to Watch" for 2024. WBEZ identified her as a breakout artist for 2024, and Chicago News Weekly has called her "one of the fastest rising stars of the dance world today."

About South Chicago Dance Theatre
South Chicago Dance Theatre (SCDT) creates artistic experiences for all people through its world class repertory dance company and innovative educational programming. Led by founder Kia S. Smith, the Berkshire Eagle lauds SCDT as "a company to watch in 2025 and beyond," and Smith was named one of Dance Magazine's "25 to Watch" in 2024. SCDT is known for Smith's signature dance theater works as well as a robust commissioning platform for global emerging and established choreographers. SCDT's touring history includes venues throughout the United States and international engagements in South Korea, Vietnam, the Netherlands, Colombia, and Germany.