Dance Performances - Night Creature

About Night Creature

Description

Alvin Ailey’s Night Creature is a bubbly champagne cocktail of a dance, a perfect fusion of Ailey’s buoyant choreography and Duke Ellington’s sparkling music.  At once wistful and sassy, it beckons viewers into a nocturnal world populated by jazz babies and night owls.

Ellington said that “night creatures, unlike stars, do not come OUT at night­– they come ON, each thinking that, before the night is out, he or she will be the star.” This large ensemble work is full of such stars — strutting, leaping and slinking through a variety of dance idioms as they flaunt and flirt with each other and the audience. They hold their hands like paws, as if they’re cats on the prowl, then slide seamlessly into balletic allegro jumps, Martha Graham-like contractions and Lester Horton layouts. It’s the definitive dance homage to the exuberance of The Duke’s sophisticated symphonic work.


This production was made possible, in part, by a grant from Ford Foundation and with public funds from the National Endowment for the Arts.
 

Performance Schedule & Tickets

Dec 21

Dec 30

Jan 3

Choreography

Music

Duke Ellington (“Night Creature”)

Costumes

Original costumes by Jane Greenwood; Revival costumes by Barbara Forbes; Fabric dyeing by Elissa Tatigikis Iberti

Lighting

Chenault Spence

First Performance

Created in 1974 (for a TV special – 'Ailey Celebrates Ellington') and then premiered on Alvin Ailey American Dance Theater in May 1975.

Run Time

17 minutes

Musical Style

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News & Press

When producers Kenny "Dope" Gonzales and Louie Vega formed Masters at Work in 1990, they proceeded to creature a catalog that contains some of house music's most recognizable classics. Such is the case when two great creative minds come together to collaborate. It seemed that from the time Alvin Ailey hit the streets of The Big Apple in 1954, he and Duke Ellington's paths were destined to meet.
"Rocks my sould in the bosom of Abraham!" Sweet Honey in the Rock throws the words up like a tidal wave from the City Center pit, while from a corner of the stage, the voice of Ella Mitchell - which has been heard (both live and recorded) during Alvin Ailey's 1960 Revelations for 37 years - soars above the other singers.
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