Alvin Ailey headed to Auditorium with six Chicago premieres

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If you’ve been following the Alvin Ailey American Dance Theater in recent seasons, you will know that Robert Battle, who became the company’s artistic director four years ago, immediately began infusing the company’s repertoire with the work of the full range of contemporary international choreographers. The result has been fascinating, with the company continuing to explore its African-American roots but at the same time giving its superb dancers the opportunity to put their highly individualistic stamp on work far beyond that parameter.When the company makes its annual spring pilgrimage to the Auditorium Theatre for an engagement running March 6-15, it will arrive with six Chicago premieres as well as repertory favorites. Among those premieres will be “Odetta,” choreographed by Matthew Rushing, the charismatic Ailey dancer and rehearsal director; Christopher Wheeldon’s “After the Rain (Pas de Deux),” Hofesh Shechter’s “Uprising,” Ulysses Dove’s “Bad Blood,” Asadata Dafora’s “Awassa Astrige/Ostrich” and Hans van Manen’s “Polish Pieces.” Also on the varied programs will be Ronald K. Brown’s “Grace,” Ulysses Dove’s “Episodes” and Ailey’s personal masterpiece, “Revelations.”Here’s a closer look:“Odetta”: Dubbed “the queen of American folk music” by Martin Luther King Jr., Odetta Holmes (who died in 2008) is considered one of the most influential singers of the 20th century. Matthew Rushing now marries movement to her songs, paying tribute to her life as a singer, songwriter, actress, activist and “the voice of the Civil Rights Movement.” Odetta’s musical repertoire encompassed American folk music, blues, jazz and spirituals, and was an influence on such key figures of the 1960s folk-revival scene as Bob Dylan, Joan Baez, Mavis Staples and Janis Joplin. With projections by artist Stephen Alcorn, Rushing’s piece, with a cast of 12, performs to spoken word and songs by Odetta, including “This Little Light of Mine,” “Sometimes I Feel Like a Motherless Child,” “Cool Water” and “Glory, Glory.” It also includes an original recording of the “Freedom Trilogy” Odetta famously performed at the 1963 March on Washington that was recreated for the ballet by Ysaye M. Barnwell.“After the Rain (Pas de Deux)”: Premiered in 2005 by New York City Ballet, this is a work in two parts, and the Ailey company will perform its second section, a sensual male-female pas de deux that has become a stand-alone piece. It is set to music of Estonian composer Arvo Part. Wheeldon’s “Swan Lake” was recently performed by the Joffrey Ballet, and his first production of “An American in Paris” is headed to Broadway this spring.

“Uprising”: Hofesh Shechter, an Israeli-born, London-based choreographer, created a stir with this intensely primal 2006 piece that features seven men who “emerge from the shadows to bombard the stage with furious intensity, bonding and sparring in a highly charged work set to a percussive score by the choreographer himself.”

“Bad Blood”: Choreographed by the late Ulysses Dove in 1986, this work of passionate emotions and kinetic, athletic energy encapsulates the powerful yet tender war between the sexes, asking the question “Can we be a duo and an individual at the same time?” Set to the music of Laurie Anderson and Peter Gabriel, Dove set his dancers leapfrogging over one another, hurling and flinging themselves at each other and ending up in fierce and violent embraces.

“Awassa Astrige/Ostrich”: Set to Carl Riley’s score of African drumming and flute, Sierra Leone-born choreographer Dafora’s piece was one of the first modern dance compositions to fuse African movements with Western staging. This groundbreaking 1932 solo — showcasing a man with arms flapping like wings, torso rippling and head held high — depicts a warrior transforming into the proud, powerful ostrich, the king of birds.

“Polish Pieces”: Dutch choreographer Hans van Manen, now 82, is known for his gift for building dazzling creations from simple motifs and geometric patterns. Driven by the rhythms of Henryk Górecki’s score, the 12 dancers in this ensemble work create a brilliant kaleidoscope of energy in pulsating group sections.

Ronald K. Brown’s landmark “Grace,” created for the Ailey company in 1999, blends modern dance and West African idioms, and is set to Duke Ellington’s classic”Come Sunday,” Roy Davis’ hit ,”Gabriel,” and the powerful rhythms of Fela Kuti’s Afro-Pop. Dove’s masterpiece, “Episodes,” created in 1987 , is  another battle of the sexes dance, set to a score by Robert Ruggieri. And Ailey’s “Revelations,” is the eternally stirring 1960 masterpiece set to traditional musical.

Community Engagement Programming

In tandem with Alvin Ailey American Dance Theater, the Auditorium’s Department of Creative Engagement utilizes innovative programming to engage Chicago students and the community by highlighting the importance of dance and artistic expression.

The Auditorium Theatre Master Class Series continues with four Ailey Master Class opportunities. High school, pre-professional and adult dancers with intermediate to advanced dance experience are invited to learn from some of the most accomplished dancers working today in various dance styles including hip-hop, modern and Horton technique. Classes take place on March 7 and 14 and are free for all CPS Students, $10 for college students and $20 for dancers. All classes are limited to 30 participants. For more information or to sign up, email atru-education@auditoriumtheatre.org or call (312) 341-2359 for an application.

For the third year, the Department of Creative Engagement in partnership with the Academy for Urban School Leadership (AUSL) Network, presents the “Revelations” Residency Program Feb. 23-27. This unique five day program, taking place at Collins Academy High School (1313 S. Sacramento), is offered to junior high school and high school students in Chicago’s North Lawndale community. Led by former principal Ailey dancer and National Director /Spokesperson & Master Teacher Nasha Thomas-Schmitt, as well as other Alvin Ailey Arts in Education teaching artists, students will learn about community building, expression through dance and how to, like Alvin Ailey, transform their own “blood memories” into moving works of art. Students will also learn about the life and legacy of Ailey as well as part of his signature piece, “Revelations.” On Feb. 27 at 5 p.m., community parents, friends and any and all members of the Chicago community are invited to Collins Academy for a free performance where the students will showcase their learning and personal choreography with a reception to follow.

The Ailey Arts in Education team will also be leading a series of dance workshops with elementary school students and college and career conversations with Chicago area high school students throughout the week of March 9.

Program Schedule:

Week 1

Friday, March 6 | 7:30 pm: “Odetta”; “Episodes”; “Revelations.”

Saturday, March 7 | 2 & 8 pm: “Polish Pieces”; “Awassa Astrige-Ostrich “; “Bad Blood”; “Revelations.”

Sunday, March 8 | 3 pm: “Odetta”; “Episodes”; “Revelations.”

Week 2

Thursday, March 12 | 7:30 pm: “Grace”; “Uprising”; “After the Rain (Pas de Deux)”; “Revelations.”

Friday, March 13 | 7:30 pm: “Odetta”; “Episodes” ;”Revelations.”

Saturday, March 14 | 2 pm: “Odetta”; “Episodes”; “Revelations.”

Saturday, March 14 | 8 pm: “Grace”; “Uprising”; “After the Rain (Pas de Deux)”; “Revelations.”

Sunday, March 15 | 3 pm: “Polish Piece”; “Awassa Astrige-Ostrich: “Bad Blood” “Revelations.”

Tickets ($32-$97) are on sale now. Call (800) 982-2787 or visit AuditoriumTheatre.org.

Note:Student Matinee performances are offered on March 12-13, open to any elementary through high school student for $15 each. For more information, call (312) 341-2357.

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