{"id":258118,"date":"2026-04-08T20:24:06","date_gmt":"2026-04-08T20:24:06","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-ca\/258118\/"},"modified":"2026-04-08T20:24:06","modified_gmt":"2026-04-08T20:24:06","slug":"alvin-ailey-still-soars-but-not-every-new-dance-earns-its-place","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-ca\/258118\/","title":{"rendered":"Alvin Ailey still soars \u2014 but not every new dance earns its place"},"content":{"rendered":"<p><img alt=\"Alvin\u00a0Ailey American Dance Theater\u2019s\u00a0Renaldo Maurice, Constance Stamatiou\u00a0and Jacquelin Harris in Alvin Ailey's \u201cRevelations.\u201d\u00a0\u00a0\" loading=\"eager\" fetchpriority=\"high\"   style=\"aspect-ratio:3 \/ 2\" class=\"x100 y100 opc bgpc ofcv bgscv block bg-gray200 mnh0px fill\"\/><\/p>\n<p>Alvin\u00a0Ailey American Dance Theater\u2019s\u00a0Renaldo Maurice, Constance Stamatiou\u00a0and Jacquelin Harris in Alvin Ailey&#8217;s \u201cRevelations.\u201d\u00a0\u00a0<\/p>\n<p>Danica Paulos\/\u00a0Alvin Ailey American Dance Theater<\/p>\n<p>Alvin Ailey was one of those rare artists whose spirit feels undying, eternally passing from one generation to another. But this continuation can never be taken for granted.\u00a0<\/p>\n<p>That\u2019s why, in a world of deep uncertainty, it was no small comfort to welcome Alvin Ailey American Dance Theater back for Cal Performances\u2019 \u201cAiley Week\u201d at Zellerbach Hall on Tuesday, April 7. It was a particular joy to applaud Alicia Graf Mack, the illustrious former company member installed 10 months ago as the New York troupe\u2019s fourth artistic director.\u00a0<\/p>\n<p>Alvin Ailey American Dance Theater: 7:30 p.m. Wednesday-Thursday April 8-9; 8 p.m. Friday, April 10; 2 and 8 p.m. Saturday, April 11; 3 p.m. Sunday, April 12. $42-$184. Zellerbach Hall, UC Berkeley. <a href=\"http:\/\/calperformances.org\" rel=\"nofollow noopener\" target=\"_blank\">calperformances.org<\/a><\/p>\n<p>Mack is longtime Ailey family, a star during the legendary Judith Jamison\u2019s leadership tenure, so it was no surprise to see she\u2019s kept the Ailey constants dependable. Her curtain speech was gracious, the dancers were spectacular, and the \u201cRocka My Soul\u201d finale of Ailey\u2019s 1960 classic \u201cRevelations\u201d received a standing ovation and a clap-along encore.\u00a0<\/p>\n<p class=\"uiTextSmall f aic jcc\">Article continues below this ad<\/p>\n<p>Still, every annual Ailey visit brings variables, too, including a crop of new commissions and acquisitions from the company\u2019s fall home season. The East Coast critics typically carp about these new works, questioning whether they stand up to the greatness of Ailey\u2019s best-known masterpiece. To me, that measure is misguided. Almost nothing can compare to \u201cRevelations.\u201d The more useful question is whether the new dances prove worthy of these powerful dancers.<\/p>\n<p><img alt=\"Alvin Ailey American Dance Theater's Caroline T. Dartey in Medhi Walerski's \u201cBlink of an Eye.\u201d\" loading=\"lazy\"   style=\"aspect-ratio:4 \/ 3\" class=\"x100 y100 opc bgpc ofcv bgscv block bg-gray200 mnh0px fill\"\/><\/p>\n<p>Alvin Ailey American Dance Theater&#8217;s Caroline T. Dartey in Medhi Walerski&#8217;s \u201cBlink of an Eye.\u201d<\/p>\n<p>Paul Kolnik\/Alvin Ailey American Dance Theater<\/p>\n<p>On Tuesday, when the first of four different programs featured three Bay Area premieres, the answer was yes, absolutely not and sort of.<\/p>\n<p>San Francisco Chronicle Logo<\/p>\n<p>Make us a Preferred Source to get more of our news when you search.<\/p>\n<p><a href=\"https:\/\/www.google.com\/preferences\/source?q=sfchronicle.com\" data-link=\"native\" role=\"button\" aria-label=\"Add Preferred Source\" class=\"td300 cp f aic jcc disabled:cd wsn px24 y40px px16 py8 buttonSm fs13 xs:fs16 xs:buttonLg bg-primaryAccessible hover:o80 c-white disabled:bg-gray300 disabled:c-gray600 border bn tac br2\"><\/p>\n<p>Add Preferred Source<\/p>\n<p><\/a><\/p>\n<p>Medhi Walerski\u2019s \u201cBlink of an Eye\u201d began the program in the resounding \u201cyes\u201d category.\u00a0 To be sure, Walerski \u2014 a former Nederlands Dans Theater member who now leads Vancouver\u2019s Ballet BC \u2014 recycled some trendy tropes in this 2011 creation. An industrial lighting grid rises, fingers waggle, and dancers run and slide on slippery socks. We\u2019ve seen all that before.\u00a0<\/p>\n<p class=\"uiTextSmall f aic jcc\">Article continues below this ad<\/p>\n<p>But Walerski is responding to Bach violin partitas and sonatas, with their ingenious way of flickering through the whole spectrum of human emotion, and he keeps his selections brisk, avoiding the relentless dourness that marks NDT\u2019s recent repertoire.\u00a0<\/p>\n<p>Just as importantly, he knows how to develop a motif. The dancers repeatedly hold a foot behind the head in a turned-in back attitude, this position evolving through pretzel-like partnering, virtuosic turns and stop-on-a-dime resolutions. It all shows off the dancers\u2019 dynamic prowess most entrancingly, especially as costumed with bare torsos for the men and black gymnastics-style leotards for the women (reimagined by Jon Taylor from Walerski\u2019s original design).<\/p>\n<p><img alt=\"Alvin\u00a0Ailey American Dance Theater in Matthew Neenan\u2019s \u201cDifference Between.\u201d\" loading=\"lazy\"   style=\"aspect-ratio:4 \/ 3\" class=\"x100 y100 opc bgpc ofcv bgscv block bg-gray200 mnh0px fill\"\/><\/p>\n<p>Alvin\u00a0Ailey American Dance Theater in Matthew Neenan\u2019s \u201cDifference Between.\u201d<\/p>\n<p>Paul Kolnik\/Alvin Ailey American Dance Theater<\/p>\n<p>Matthew Neenan\u2019s \u201cDifference Between,\u201d alas, ricocheted the audience to the \u201cno, not worthy of these dancers\u201d territory.\u00a0<\/p>\n<p>Neenan is a co-founder of BalletX, and a prolific creator of quirky works popular with mid-sized suburban ballet companies. \u201cDifference Between\u201d follows his usual formula, but with a sprinkling of abstruseness. The alt-pop and Americana-influenced music by MacArthur \u201cGenius\u201d fellowship recipient Heather Christian and her band the Arbornauts is highly lyrics-driven. \u201cIt\u2019s hard, it\u2019s hard, it\u2019s hard,\u201d one selection repeats in harshly intoned tight harmony, while another, sung in a Stevie Nicks-like warble, describes how \u201cinstead of drowning, you become a holy roller.\u201d\u00a0<\/p>\n<p class=\"uiTextSmall f aic jcc\">Article continues below this ad<\/p>\n<p>Presumably Neenan had a rapturous personal response to this poetry, but at Zellerbach Hall both the sung words and his ideas remained obscure. The excellent cast of seven mostly seemed to reel their arms in lines. Mason Evans and Xavier Mack did all they could with a milquetoast duet, later crawling forehead-to-forehead around the perimeter of the stage. Pajama-like costumes by Karen Young did not help.<\/p>\n<p><img alt=\"Yannick Lebrun in\u00a0\u201cSong of\u00a0the Anchorite\u201d by\u00a0choreographer Jamar Roberts\" loading=\"lazy\"   style=\"aspect-ratio:3 \/ 2\" class=\"x100 y100 opc bgpc ofcv bgscv block bg-gray200 mnh0px fill\"\/><\/p>\n<p>Yannick Lebrun in\u00a0\u201cSong of\u00a0the Anchorite\u201d by\u00a0choreographer Jamar Roberts<\/p>\n<p>Paul Kolnik<\/p>\n<p>Between these extremes, former Ailey dancer and past resident choreographer Jamar Roberts\u2019s \u201cSong of the Anchorite\u201d had the virtue of connecting us to the company\u2019s history, inspired\u00a0 by a mostly lost Alvin Ailey solo, \u201cHermit Songs.\u201d<\/p>\n<p>In that 1961 work, Alvin Ailey held branches that evoke a crown of thorns and danced to music by Samuel Barber. In Roberts\u2019s response, the bare branches hovered in a projection overhead, and a solemn Yannick Labrun danced to a jazz trumpet reinterpretation of the adagio from a Ravel piano concerto. It read, often touchingly, as an allegory for the artist committing himself to a lonely, sacrificial vocation. My only reservation is that in Roberts\u2019s choreography, the action \u2014 Labrun lifting what at first seems to be a shroud, then putting on a robe \u2014 seems to happen abruptly, driven more by the dancemaker\u2019s symbology than by the dancer\u2019s embodied character.<\/p>\n<p>What would it look like for movement to seem both symbolic and fully human, with immediacy of emotion flowing through? An answer arrived in the eternal Ailey closer, \u201cRevelations.\u201d\u00a0<\/p>\n<p class=\"uiTextSmall f aic jcc\">Article continues below this ad<\/p>\n<p><img alt=\"Alvin Ailey American Dance Theater in\u00a0Alvin Ailey\u2019s \u201cRevelations.\u201d\u00a0\" loading=\"lazy\"   style=\"aspect-ratio:3 \/ 2\" class=\"x100 y100 opc bgpc ofcv bgscv block bg-gray200 mnh0px fill\"\/><\/p>\n<p>Alvin Ailey American Dance Theater in\u00a0Alvin Ailey\u2019s \u201cRevelations.\u201d\u00a0<\/p>\n<p>Danica Paulos Photography<\/p>\n<p>Lebrun was devastatingly beautiful in the \u201cI Wanna Be Ready\u201d solo, hinging into those backbends with crystalline control and pleading eyes. Sarah Daley-Perdomo was even more affecting in \u201cFix Me, Jesus,\u201d her extensions all steely strength, her face all surrender. Renaldo Maurice was shaking with the spirit in \u201cWade in the Water.\u201d\u00a0<\/p>\n<p>Then one of the most loveable of Ailey dancers, the always radiant Patrick Coker, blazed across the stage in \u201cSinner Man\u201d and brought sheer sunshine to \u201cRocka My Soul.\u201d Let the encores commence.<\/p>\n<p class=\"cci_endnote_contact\" title=\"CCI End Note Contact\">Rachel Howard is a freelance writer.\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"Alvin\u00a0Ailey American Dance Theater\u2019s\u00a0Renaldo Maurice, Constance Stamatiou\u00a0and Jacquelin Harris in Alvin Ailey&#8217;s \u201cRevelations.\u201d\u00a0\u00a0 Danica Paulos\/\u00a0Alvin Ailey American Dance&hellip;\n","protected":false},"author":2,"featured_media":258119,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[34],"tags":[329,1472,143,145,144],"class_list":["post-258118","post","type-post","status-publish","format-standard","has-post-thumbnail","category-oakland","tag-arts-and-entertainment","tag-dance","tag-oakland","tag-oakland-headlines","tag-oakland-news"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/posts\/258118","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/comments?post=258118"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/posts\/258118\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/media\/258119"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/media?parent=258118"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/categories?post=258118"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/tags?post=258118"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}