The Alvin Ailey American Dance Theater’s 2024 season at NYC Center is a tribute to Judith Jamison, featuring three world premieres and a 25th-anniversary production. Witness the beauty of movement and music in a journey that explores the impossible question: how many angels can dance on the head of a pin?
Ailey’s Angels: A Look at the Company’s New York City Center 2024 Season
The Alvin Ailey American Dance Theater’s New York City Center 2024 season is a tribute to the life and legacy of Artistic Director Emerita Judith Jamison, who passed away in May. The program features three world premieres: Lar Lubovitch’s “Many Angels,” Ashley Kaylynn Green’s solo from “Finding Free,” and the 25th-anniversary production of Maurice Béjart’s “Grace.”
Many Angels
Lar Lubovitch’s first work for the Company, “Many Angels” is set to Gustav Mahler‘s “Adagietto” from Symphony No. 5 in C-Sharp Minor. The piece explores the impossible question posed by St. Thomas Aquinas: “How many angels can dance on the head of a pin?” The audience was captivated by the heavenly backdrop, soft lighting, and beautiful movement.
As the dancers spin and glide around each other, they create a sense of ethereal beauty. However, just when it seems like the answer to Aquinas’s question is found in Yannick Lebrun being raised onto his shoulder, the dance continues, leaving the audience with a sense that maybe the answer is not only one but also many.
Finding Free
Ashley Kaylynn Green’s solo from “Finding Free” is a powerful message of struggle and liberation. The work features ropes attached to her limbs as she struggles to break free, ultimately gathering them up and carrying them offstage. The movement is spare, yet resonant, leaving a lasting impression.
However, the overall narrative arc of the piece was unclear at times, with some sections feeling disjointed. Nonetheless, Green’s solo stood out, showcasing the Company’s range through contemporary movement-language.
Grace
The program closed with the 25th-anniversary production of Maurice Béjart’s “Grace,” a work about the journey to the promised land and the grace that surrounds us. Constance Stamatiou’s opening solo sets the tone for a spiritual experience, as she performs a low undulating blessing on stage.
When the other ten dancers join her in their flowing red and white costumes, the party begins. The music, featuring Duke Ellington‘s “Come Sunday,” Roy Davis’ “Gabriel,” and Fela Kuti’s Afropop beats, was much-needed and added to the joyous atmosphere.
A Tribute to Jamison
Throughout the program, it was clear that the dancers were not just performing for themselves but also as vessels for Jamison’s legacy. The women in Green, Harris, and Stamatiou’s roles stood out, embodying the spirit of the Company’s founder.
As the audience left the theater, they couldn’t help but think about what the dancers could do next. But it was the women who had gathered together that evening – Green, Harris, and Stamatiou – and Jamison shining through them that stayed with me.
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