Calendar

July 2015

Thu, July 2

 

Fri, July 3

 

Public Classes

New York, NY

Prepay for Classes

Sun, July 5

 

Mon, July 6

 

Tue, July 7

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande SalleThéâtre du Châtelet

Casting
Program subject to change.

LIFT

This propulsive world premiere by in-demand choreographer Aszure Barton accentuates the vitality and physical prowess of the Ailey company. Driven by the dancers’ passion, skill and collective power, the work was created over a developmental process with the entire Company. The percussive score, composed by Curtis Macdonald, is infused with the infectious energy and heart that she observed in her initial encounters with the Ailey dancers.

After the Rain Pas de Deux

In Christopher Wheeldon’s After the Rain Pas de Deux, a couple performs a haunting pas de deux set to Estonian composer Arvo Pärt’s Spiegel im Spiegel. The work first premiered in 2005 at New York City Ballet’s annual New Combinations Evening, which honors the anniversary of George Balanchine’s birth with world premieres. The dreamlike male-female duet has been widely praised for its sublime simplicity and intricate partnering, and it is revealed in a fresh light as the Ailey dancers make it their own.

Four Corners

In Ronald K. Brown’s Four Corners, 11 dancers depict spiritual seekers amid four angels standing on the corners of the earth, holding the four winds. In creating his fifth commission for the Ailey company since 1999, the celebrated choreographer turned to the song “Lamentations” by his friend, recording artist Carl Hancock Rux. Drawing from West African and modern dance influences, Brown uses grounded, earthy movements to portray figures who are burdened by grief but ultimately find peace, solace, and freedom with the aid of “the angels in their corners” mentioned in Rux’s text.

Revelations

Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul.

Wed, July 8

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande SalleThéâtre du Châtelet

Casting
Program subject to change.

Takademe

Robert Battle’s bravura work mixes humor and high-flying movement in a savvy deconstruction of Indian Kathak dance rhythms. Clear shapes and propulsive jumps mimic the vocalized syllables of Sheila Chandra's syncopated score.

Polish Pieces

In this exuberant ensemble work, Dutch choreographer van Manen displays his mastery for building dazzling creations from simple motifs and geometric patterns. Driven by the rhythms of Henryk Górecki’s score, the dancers come together and disperse in endlessly shifting formations that culminate in two sensual pas de deux.

Strange Humors

Equal parts comedic and combative, Artistic Director Robert Battle’s Strange Humors is an eccentric, jocular display for two dancers.  Composer John Mackey, with whom Battle is a frequent collaborator, provides a fiery score propelled by elements of African hand drumming and Middle Eastern folk music.

D-Man in the Waters (Part I)

In this exhilarating work by Kennedy Center Honoree, MacArthur Grant awardee and Tony Award-winner Bill T. Jones (Fela!, Spring Awakening), rigorous formalism and musicality embody resilience and triumph over loss.

Grace

One of the most popular works in the Ailey repertory, Ronald K. Brown’s spellbinding Grace is a fervent tour-de-force depicting individuals on a journey to the promised land. 

Thu, July 9

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande SalleThéâtre du Châtelet

Casting
Program subject to change.

Polish Pieces

In this exuberant ensemble work, Dutch choreographer van Manen displays his mastery for building dazzling creations from simple motifs and geometric patterns. Driven by the rhythms of Henryk Górecki’s score, the dancers come together and disperse in endlessly shifting formations that culminate in two sensual pas de deux.

Strange Humors

Equal parts comedic and combative, Artistic Director Robert Battle’s Strange Humors is an eccentric, jocular display for two dancers.  Composer John Mackey, with whom Battle is a frequent collaborator, provides a fiery score propelled by elements of African hand drumming and Middle Eastern folk music.

D-Man in the Waters (Part I)

In this exhilarating work by Kennedy Center Honoree, MacArthur Grant awardee and Tony Award-winner Bill T. Jones (Fela!, Spring Awakening), rigorous formalism and musicality embody resilience and triumph over loss.

Takademe

Robert Battle’s bravura work mixes humor and high-flying movement in a savvy deconstruction of Indian Kathak dance rhythms. Clear shapes and propulsive jumps mimic the vocalized syllables of Sheila Chandra's syncopated score.

Grace

One of the most popular works in the Ailey repertory, Ronald K. Brown’s spellbinding Grace is a fervent tour-de-force depicting individuals on a journey to the promised land. 

Fri, July 10

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande SalleThéâtre du Châtelet

Casting
Program subject to change.

Home

Home, choreographed by bold hip-hop choreographer Rennie Harris, is inspired by the stories of people living with or affected by HIV.  Drawing upon poems and images submitted in 2011 to the Fight HIV Your Way contest, an initiative of Bristol-Myers Squibb, Harris created a compelling work that conveys both the chilling isolation and uplifting sense of community many experience.

After the Rain Pas de Deux

In Christopher Wheeldon’s After the Rain Pas de Deux, a couple performs a haunting pas de deux set to Estonian composer Arvo Pärt’s Spiegel im Spiegel. The work first premiered in 2005 at New York City Ballet’s annual New Combinations Evening, which honors the anniversary of George Balanchine’s birth with world premieres. The dreamlike male-female duet has been widely praised for its sublime simplicity and intricate partnering, and it is revealed in a fresh light as the Ailey dancers make it their own.

The Hunt

Robert Battle’s The Hunt is a primal ritual with a distinctly urban feel fueled by a thundering percussion soundtrack by Les Tambours du Bronx. Perhaps Battle’s most popular work, it explores the relationship between modern sports and the rites of the gladiators.

Minus 16

Featuring an eclectic score ranging from Dean Martin to mambo, techno to traditional Israeli music, Ohad Naharin’s Minus 16 uses improvisation and Naharin’s acclaimed “Gaga” method, a unique movement language that breaks down old habits, pushing the dancers to challenge themselves in new ways.  

Public Classes

New York, NY

Prepay for Classes

Sat, July 11

Alvin Ailey American Dance Theater

Paris, France

3:00 pm

La Grande SalleThéâtre du Châtelet

Casting
Program subject to change.

LIFT

This propulsive world premiere by in-demand choreographer Aszure Barton accentuates the vitality and physical prowess of the Ailey company. Driven by the dancers’ passion, skill and collective power, the work was created over a developmental process with the entire Company. The percussive score, composed by Curtis Macdonald, is infused with the infectious energy and heart that she observed in her initial encounters with the Ailey dancers.

Pas de Duke

Pas de Duke is Alvin Ailey’s spirited modern dance translation of a classical pas de deux, originally created in 1976 as a showcase for Judith Jamison and Mikhail Baryshnikov. She was a reigning star of modern dance; he was one of the world’s most famous ballet dancers, having defected from the Soviet Union two years earlier. Ailey made brilliant use of the dancers’ physical and stylistic differences, crafting an elegant, flirtatious work that showed off their exuberance and virtuosity as they engaged in a playful game of one-upmanship.  

Four Corners

In Ronald K. Brown’s Four Corners, 11 dancers depict spiritual seekers amid four angels standing on the corners of the earth, holding the four winds. In creating his fifth commission for the Ailey company since 1999, the celebrated choreographer turned to the song “Lamentations” by his friend, recording artist Carl Hancock Rux. Drawing from West African and modern dance influences, Brown uses grounded, earthy movements to portray figures who are burdened by grief but ultimately find peace, solace, and freedom with the aid of “the angels in their corners” mentioned in Rux’s text.

Revelations

Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul.

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande SalleThéâtre du Châtelet

Casting
Program subject to change.

Polish Pieces

In this exuberant ensemble work, Dutch choreographer van Manen displays his mastery for building dazzling creations from simple motifs and geometric patterns. Driven by the rhythms of Henryk Górecki’s score, the dancers come together and disperse in endlessly shifting formations that culminate in two sensual pas de deux.

After the Rain Pas de Deux

In Christopher Wheeldon’s After the Rain Pas de Deux, a couple performs a haunting pas de deux set to Estonian composer Arvo Pärt’s Spiegel im Spiegel. The work first premiered in 2005 at New York City Ballet’s annual New Combinations Evening, which honors the anniversary of George Balanchine’s birth with world premieres. The dreamlike male-female duet has been widely praised for its sublime simplicity and intricate partnering, and it is revealed in a fresh light as the Ailey dancers make it their own.

Pas de Duke

Pas de Duke is Alvin Ailey’s spirited modern dance translation of a classical pas de deux, originally created in 1976 as a showcase for Judith Jamison and Mikhail Baryshnikov. She was a reigning star of modern dance; he was one of the world’s most famous ballet dancers, having defected from the Soviet Union two years earlier. Ailey made brilliant use of the dancers’ physical and stylistic differences, crafting an elegant, flirtatious work that showed off their exuberance and virtuosity as they engaged in a playful game of one-upmanship.  

The Hunt

Robert Battle’s The Hunt is a primal ritual with a distinctly urban feel fueled by a thundering percussion soundtrack by Les Tambours du Bronx. Perhaps Battle’s most popular work, it explores the relationship between modern sports and the rites of the gladiators.

Grace

One of the most popular works in the Ailey repertory, Ronald K. Brown’s spellbinding Grace is a fervent tour-de-force depicting individuals on a journey to the promised land. 

Sun, July 12

 

Mon, July 13

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

LIFT

This propulsive world premiere by in-demand choreographer Aszure Barton accentuates the vitality and physical prowess of the Ailey company. Driven by the dancers’ passion, skill and collective power, the work was created over a developmental process with the entire Company. The percussive score, composed by Curtis Macdonald, is infused with the infectious energy and heart that she observed in her initial encounters with the Ailey dancers.

Awassa Astrige/Ostrich

With arms flapping like wings, torso rippling and head held high, a warrior is transformed into the proud, powerful ostrich ­— the king of birds.  Sierra Leone-born choreographer Dafora blended his vision of a traditional African dance with Western staging in this groundbreaking 1932 solo set to Carl Riley’s score of African drumming and flute.

Bad Blood

In Bad Blood, emotional passion and kinetic energy encapsulate the powerful yet extremely tender war between the sexes, keeping audiences on the edge of their seats with a daredevil display.

Minus 16

Featuring an eclectic score ranging from Dean Martin to mambo, techno to traditional Israeli music, Ohad Naharin’s Minus 16 uses improvisation and Naharin’s acclaimed “Gaga” method, a unique movement language that breaks down old habits, pushing the dancers to challenge themselves in new ways.  

Tue, July 14

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Night Creature

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.

Pas de Duke

Pas de Duke is Alvin Ailey’s spirited modern dance translation of a classical pas de deux, originally created in 1976 as a showcase for Judith Jamison and Mikhail Baryshnikov. She was a reigning star of modern dance; he was one of the world’s most famous ballet dancers, having defected from the Soviet Union two years earlier. Ailey made brilliant use of the dancers’ physical and stylistic differences, crafting an elegant, flirtatious work that showed off their exuberance and virtuosity as they engaged in a playful game of one-upmanship.  

The River

By turns muscular and lyrical, The River is a sweeping full-company work that suggests tumbling rapids and meandering streams on a journey to the sea. Ailey’s allegory of birth, life and rebirth abounds with water references, from the spinning “Vortex” solo to the romantic “Lake” duet, and from the powerful “Falls” quartet to the joyful “Giggling Rapids.” The choreography demonstrates Ailey’s admiration for classical ballet, but retains the modern and jazz influences found in all his work. “The River shows Mr. Ailey at his inventive best,” declared The New York Times.

Revelations

Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul.

Wed, July 15

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Four Corners

In Ronald K. Brown’s Four Corners, 11 dancers depict spiritual seekers amid four angels standing on the corners of the earth, holding the four winds. In creating his fifth commission for the Ailey company since 1999, the celebrated choreographer turned to the song “Lamentations” by his friend, recording artist Carl Hancock Rux. Drawing from West African and modern dance influences, Brown uses grounded, earthy movements to portray figures who are burdened by grief but ultimately find peace, solace, and freedom with the aid of “the angels in their corners” mentioned in Rux’s text.

After the Rain Pas de Deux

In Christopher Wheeldon’s After the Rain Pas de Deux, a couple performs a haunting pas de deux set to Estonian composer Arvo Pärt’s Spiegel im Spiegel. The work first premiered in 2005 at New York City Ballet’s annual New Combinations Evening, which honors the anniversary of George Balanchine’s birth with world premieres. The dreamlike male-female duet has been widely praised for its sublime simplicity and intricate partnering, and it is revealed in a fresh light as the Ailey dancers make it their own.

Bad Blood

In Bad Blood, emotional passion and kinetic energy encapsulate the powerful yet extremely tender war between the sexes, keeping audiences on the edge of their seats with a daredevil display.

Home

Home, choreographed by bold hip-hop choreographer Rennie Harris, is inspired by the stories of people living with or affected by HIV.  Drawing upon poems and images submitted in 2011 to the Fight HIV Your Way contest, an initiative of Bristol-Myers Squibb, Harris created a compelling work that conveys both the chilling isolation and uplifting sense of community many experience.

Thu, July 16

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Exodus

Acclaimed hip-hop choreographer Rennie (Lorenzo) Harris creates a highly-anticipated world premiere that explores the idea of “exodus” – from one’s ignorance and conformity – as a necessary step toward enlightenment. Set to gospel and house music along with poetic narration, the work underscores the crucial role of action and movement in effecting change. Exemplifying his view of hip hop as a “celebration of life,” Exodus marks Harris’ latest invitation to return to spiritual basics and affirm who we are.

Four Corners

In Ronald K. Brown’s Four Corners, 11 dancers depict spiritual seekers amid four angels standing on the corners of the earth, holding the four winds. In creating his fifth commission for the Ailey company since 1999, the celebrated choreographer turned to the song “Lamentations” by his friend, recording artist Carl Hancock Rux. Drawing from West African and modern dance influences, Brown uses grounded, earthy movements to portray figures who are burdened by grief but ultimately find peace, solace, and freedom with the aid of “the angels in their corners” mentioned in Rux’s text.

Takademe

Robert Battle’s bravura work mixes humor and high-flying movement in a savvy deconstruction of Indian Kathak dance rhythms. Clear shapes and propulsive jumps mimic the vocalized syllables of Sheila Chandra's syncopated score.

LIFT

This propulsive world premiere by in-demand choreographer Aszure Barton accentuates the vitality and physical prowess of the Ailey company. Driven by the dancers’ passion, skill and collective power, the work was created over a developmental process with the entire Company. The percussive score, composed by Curtis Macdonald, is infused with the infectious energy and heart that she observed in her initial encounters with the Ailey dancers.

Fri, July 17

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Polish Pieces

In this exuberant ensemble work, Dutch choreographer van Manen displays his mastery for building dazzling creations from simple motifs and geometric patterns. Driven by the rhythms of Henryk Górecki’s score, the dancers come together and disperse in endlessly shifting formations that culminate in two sensual pas de deux.

Strange Humors

Equal parts comedic and combative, Artistic Director Robert Battle’s Strange Humors is an eccentric, jocular display for two dancers.  Composer John Mackey, with whom Battle is a frequent collaborator, provides a fiery score propelled by elements of African hand drumming and Middle Eastern folk music.

D-Man in the Waters (Part I)

In this exhilarating work by Kennedy Center Honoree, MacArthur Grant awardee and Tony Award-winner Bill T. Jones (Fela!, Spring Awakening), rigorous formalism and musicality embody resilience and triumph over loss.

Takademe

Robert Battle’s bravura work mixes humor and high-flying movement in a savvy deconstruction of Indian Kathak dance rhythms. Clear shapes and propulsive jumps mimic the vocalized syllables of Sheila Chandra's syncopated score.

Home

Home, choreographed by bold hip-hop choreographer Rennie Harris, is inspired by the stories of people living with or affected by HIV.  Drawing upon poems and images submitted in 2011 to the Fight HIV Your Way contest, an initiative of Bristol-Myers Squibb, Harris created a compelling work that conveys both the chilling isolation and uplifting sense of community many experience.

Sat, July 18

Alvin Ailey American Dance Theater

Paris, France

3:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Night Creature

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.

Pas de Duke

Pas de Duke is Alvin Ailey’s spirited modern dance translation of a classical pas de deux, originally created in 1976 as a showcase for Judith Jamison and Mikhail Baryshnikov. She was a reigning star of modern dance; he was one of the world’s most famous ballet dancers, having defected from the Soviet Union two years earlier. Ailey made brilliant use of the dancers’ physical and stylistic differences, crafting an elegant, flirtatious work that showed off their exuberance and virtuosity as they engaged in a playful game of one-upmanship.  

The River

By turns muscular and lyrical, The River is a sweeping full-company work that suggests tumbling rapids and meandering streams on a journey to the sea. Ailey’s allegory of birth, life and rebirth abounds with water references, from the spinning “Vortex” solo to the romantic “Lake” duet, and from the powerful “Falls” quartet to the joyful “Giggling Rapids.” The choreography demonstrates Ailey’s admiration for classical ballet, but retains the modern and jazz influences found in all his work. “The River shows Mr. Ailey at his inventive best,” declared The New York Times.

Revelations

Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul.

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Exodus

Acclaimed hip-hop choreographer Rennie (Lorenzo) Harris creates a highly-anticipated world premiere that explores the idea of “exodus” – from one’s ignorance and conformity – as a necessary step toward enlightenment. Set to gospel and house music along with poetic narration, the work underscores the crucial role of action and movement in effecting change. Exemplifying his view of hip hop as a “celebration of life,” Exodus marks Harris’ latest invitation to return to spiritual basics and affirm who we are.

Grace

One of the most popular works in the Ailey repertory, Ronald K. Brown’s spellbinding Grace is a fervent tour-de-force depicting individuals on a journey to the promised land. 

LIFT

This propulsive world premiere by in-demand choreographer Aszure Barton accentuates the vitality and physical prowess of the Ailey company. Driven by the dancers’ passion, skill and collective power, the work was created over a developmental process with the entire Company. The percussive score, composed by Curtis Macdonald, is infused with the infectious energy and heart that she observed in her initial encounters with the Ailey dancers.

Mon, July 20

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Bad Blood

In Bad Blood, emotional passion and kinetic energy encapsulate the powerful yet extremely tender war between the sexes, keeping audiences on the edge of their seats with a daredevil display.

After the Rain Pas de Deux

In Christopher Wheeldon’s After the Rain Pas de Deux, a couple performs a haunting pas de deux set to Estonian composer Arvo Pärt’s Spiegel im Spiegel. The work first premiered in 2005 at New York City Ballet’s annual New Combinations Evening, which honors the anniversary of George Balanchine’s birth with world premieres. The dreamlike male-female duet has been widely praised for its sublime simplicity and intricate partnering, and it is revealed in a fresh light as the Ailey dancers make it their own.

Grace

One of the most popular works in the Ailey repertory, Ronald K. Brown’s spellbinding Grace is a fervent tour-de-force depicting individuals on a journey to the promised land. 

Revelations

Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul.

Tue, July 21

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Polish Pieces

In this exuberant ensemble work, Dutch choreographer van Manen displays his mastery for building dazzling creations from simple motifs and geometric patterns. Driven by the rhythms of Henryk Górecki’s score, the dancers come together and disperse in endlessly shifting formations that culminate in two sensual pas de deux.

Strange Humors

Equal parts comedic and combative, Artistic Director Robert Battle’s Strange Humors is an eccentric, jocular display for two dancers.  Composer John Mackey, with whom Battle is a frequent collaborator, provides a fiery score propelled by elements of African hand drumming and Middle Eastern folk music.

After the Rain Pas de Deux

In Christopher Wheeldon’s After the Rain Pas de Deux, a couple performs a haunting pas de deux set to Estonian composer Arvo Pärt’s Spiegel im Spiegel. The work first premiered in 2005 at New York City Ballet’s annual New Combinations Evening, which honors the anniversary of George Balanchine’s birth with world premieres. The dreamlike male-female duet has been widely praised for its sublime simplicity and intricate partnering, and it is revealed in a fresh light as the Ailey dancers make it their own.

The Hunt

Artistic Director Robert Battle’s athletic work for six men reveals the predatory side of human nature and the primitive thrill of the hunt.

Home

Home, choreographed by bold hip-hop choreographer Rennie Harris, is inspired by the stories of people living with or affected by HIV.  Drawing upon poems and images submitted in 2011 to the Fight HIV Your Way contest, an initiative of Bristol-Myers Squibb, Harris created a compelling work that conveys both the chilling isolation and uplifting sense of community many experience.

Wed, July 22

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Night Creature

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.

After the Rain Pas de Deux

In Christopher Wheeldon’s After the Rain Pas de Deux, a couple performs a haunting pas de deux set to Estonian composer Arvo Pärt’s Spiegel im Spiegel. The work first premiered in 2005 at New York City Ballet’s annual New Combinations Evening, which honors the anniversary of George Balanchine’s birth with world premieres. The dreamlike male-female duet has been widely praised for its sublime simplicity and intricate partnering, and it is revealed in a fresh light as the Ailey dancers make it their own.

Exodus

Acclaimed hip-hop choreographer Rennie (Lorenzo) Harris creates a highly-anticipated world premiere that explores the idea of “exodus” – from one’s ignorance and conformity – as a necessary step toward enlightenment. Set to gospel and house music along with poetic narration, the work underscores the crucial role of action and movement in effecting change. Exemplifying his view of hip hop as a “celebration of life,” Exodus marks Harris’ latest invitation to return to spiritual basics and affirm who we are.

Minus 16

Featuring an eclectic score ranging from Dean Martin to mambo, techno to traditional Israeli music, Ohad Naharin’s Minus 16 uses improvisation and Naharin’s acclaimed “Gaga” method, a unique movement language that breaks down old habits, pushing the dancers to challenge themselves in new ways.  

Thu, July 23

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Polish Pieces

In this exuberant ensemble work, Dutch choreographer van Manen displays his mastery for building dazzling creations from simple motifs and geometric patterns. Driven by the rhythms of Henryk Górecki’s score, the dancers come together and disperse in endlessly shifting formations that culminate in two sensual pas de deux.

Awassa Astrige/Ostrich

With arms flapping like wings, torso rippling and head held high, a warrior is transformed into the proud, powerful ostrich ­— the king of birds.  Sierra Leone-born choreographer Dafora blended his vision of a traditional African dance with Western staging in this groundbreaking 1932 solo set to Carl Riley’s score of African drumming and flute.

D-Man in the Waters (Part I)

In this exhilarating work by Kennedy Center Honoree, MacArthur Grant awardee and Tony Award-winner Bill T. Jones (Fela!, Spring Awakening), rigorous formalism and musicality embody resilience and triumph over loss.

Takademe

Robert Battle’s bravura work mixes humor and high-flying movement in a savvy deconstruction of Indian Kathak dance rhythms. Clear shapes and propulsive jumps mimic the vocalized syllables of Sheila Chandra's syncopated score.

Grace

One of the most popular works in the Ailey repertory, Ronald K. Brown’s spellbinding Grace is a fervent tour-de-force depicting individuals on a journey to the promised land. 

Fri, July 24

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Night Creature

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.

Pas de Duke

Pas de Duke is Alvin Ailey’s spirited modern dance translation of a classical pas de deux, originally created in 1976 as a showcase for Judith Jamison and Mikhail Baryshnikov. She was a reigning star of modern dance; he was one of the world’s most famous ballet dancers, having defected from the Soviet Union two years earlier. Ailey made brilliant use of the dancers’ physical and stylistic differences, crafting an elegant, flirtatious work that showed off their exuberance and virtuosity as they engaged in a playful game of one-upmanship.  

The River

By turns muscular and lyrical, The River is a sweeping full-company work that suggests tumbling rapids and meandering streams on a journey to the sea. Ailey’s allegory of birth, life and rebirth abounds with water references, from the spinning “Vortex” solo to the romantic “Lake” duet, and from the powerful “Falls” quartet to the joyful “Giggling Rapids.” The choreography demonstrates Ailey’s admiration for classical ballet, but retains the modern and jazz influences found in all his work. “The River shows Mr. Ailey at his inventive best,” declared The New York Times.

Revelations

Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul.

Sat, July 25

Alvin Ailey American Dance Theater

Paris, France

3:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

LIFT

This propulsive world premiere by in-demand choreographer Aszure Barton accentuates the vitality and physical prowess of the Ailey company. Driven by the dancers’ passion, skill and collective power, the work was created over a developmental process with the entire Company. The percussive score, composed by Curtis Macdonald, is infused with the infectious energy and heart that she observed in her initial encounters with the Ailey dancers.

Exodus

Acclaimed hip-hop choreographer Rennie (Lorenzo) Harris creates a highly-anticipated world premiere that explores the idea of “exodus” – from one’s ignorance and conformity – as a necessary step toward enlightenment. Set to gospel and house music along with poetic narration, the work underscores the crucial role of action and movement in effecting change. Exemplifying his view of hip hop as a “celebration of life,” Exodus marks Harris’ latest invitation to return to spiritual basics and affirm who we are.

Revelations

Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul.

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Grace

One of the most popular works in the Ailey repertory, Ronald K. Brown’s spellbinding Grace is a fervent tour-de-force depicting individuals on a journey to the promised land. 

After the Rain Pas de Deux

In Christopher Wheeldon’s After the Rain Pas de Deux, a couple performs a haunting pas de deux set to Estonian composer Arvo Pärt’s Spiegel im Spiegel. The work first premiered in 2005 at New York City Ballet’s annual New Combinations Evening, which honors the anniversary of George Balanchine’s birth with world premieres. The dreamlike male-female duet has been widely praised for its sublime simplicity and intricate partnering, and it is revealed in a fresh light as the Ailey dancers make it their own.

The Hunt

Robert Battle’s The Hunt is a primal ritual with a distinctly urban feel fueled by a thundering percussion soundtrack by Les Tambours du Bronx. Perhaps Battle’s most popular work, it explores the relationship between modern sports and the rites of the gladiators.

Minus 16

Featuring an eclectic score ranging from Dean Martin to mambo, techno to traditional Israeli music, Ohad Naharin’s Minus 16 uses improvisation and Naharin’s acclaimed “Gaga” method, a unique movement language that breaks down old habits, pushing the dancers to challenge themselves in new ways.  

Mon, July 27

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Polish Pieces

In this exuberant ensemble work, Dutch choreographer van Manen displays his mastery for building dazzling creations from simple motifs and geometric patterns. Driven by the rhythms of Henryk Górecki’s score, the dancers come together and disperse in endlessly shifting formations that culminate in two sensual pas de deux.

Pas de Duke

Pas de Duke is Alvin Ailey’s spirited modern dance translation of a classical pas de deux, originally created in 1976 as a showcase for Judith Jamison and Mikhail Baryshnikov. She was a reigning star of modern dance; he was one of the world’s most famous ballet dancers, having defected from the Soviet Union two years earlier. Ailey made brilliant use of the dancers’ physical and stylistic differences, crafting an elegant, flirtatious work that showed off their exuberance and virtuosity as they engaged in a playful game of one-upmanship.  

Strange Humors

Equal parts comedic and combative, Artistic Director Robert Battle’s Strange Humors is an eccentric, jocular display for two dancers.  Composer John Mackey, with whom Battle is a frequent collaborator, provides a fiery score propelled by elements of African hand drumming and Middle Eastern folk music.

Four Corners

In Ronald K. Brown’s Four Corners, 11 dancers depict spiritual seekers amid four angels standing on the corners of the earth, holding the four winds. In creating his fifth commission for the Ailey company since 1999, the celebrated choreographer turned to the song “Lamentations” by his friend, recording artist Carl Hancock Rux. Drawing from West African and modern dance influences, Brown uses grounded, earthy movements to portray figures who are burdened by grief but ultimately find peace, solace, and freedom with the aid of “the angels in their corners” mentioned in Rux’s text.

Home

Home, choreographed by bold hip-hop choreographer Rennie Harris, is inspired by the stories of people living with or affected by HIV.  Drawing upon poems and images submitted in 2011 to the Fight HIV Your Way contest, an initiative of Bristol-Myers Squibb, Harris created a compelling work that conveys both the chilling isolation and uplifting sense of community many experience.

Tue, July 28

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

D-Man in the Waters (Part I)

In this exhilarating work by Kennedy Center Honoree, MacArthur Grant awardee and Tony Award-winner Bill T. Jones (Fela!, Spring Awakening), rigorous formalism and musicality embody resilience and triumph over loss.

Takademe

Robert Battle’s bravura work mixes humor and high-flying movement in a savvy deconstruction of Indian Kathak dance rhythms. Clear shapes and propulsive jumps mimic the vocalized syllables of Sheila Chandra's syncopated score.

Exodus

Acclaimed hip-hop choreographer Rennie (Lorenzo) Harris creates a highly-anticipated world premiere that explores the idea of “exodus” – from one’s ignorance and conformity – as a necessary step toward enlightenment. Set to gospel and house music along with poetic narration, the work underscores the crucial role of action and movement in effecting change. Exemplifying his view of hip hop as a “celebration of life,” Exodus marks Harris’ latest invitation to return to spiritual basics and affirm who we are.

Minus 16

Featuring an eclectic score ranging from Dean Martin to mambo, techno to traditional Israeli music, Ohad Naharin’s Minus 16 uses improvisation and Naharin’s acclaimed “Gaga” method, a unique movement language that breaks down old habits, pushing the dancers to challenge themselves in new ways.  

Wed, July 29

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Bad Blood

In Bad Blood, emotional passion and kinetic energy encapsulate the powerful yet extremely tender war between the sexes, keeping audiences on the edge of their seats with a daredevil display.

After the Rain Pas de Deux

In Christopher Wheeldon’s After the Rain Pas de Deux, a couple performs a haunting pas de deux set to Estonian composer Arvo Pärt’s Spiegel im Spiegel. The work first premiered in 2005 at New York City Ballet’s annual New Combinations Evening, which honors the anniversary of George Balanchine’s birth with world premieres. The dreamlike male-female duet has been widely praised for its sublime simplicity and intricate partnering, and it is revealed in a fresh light as the Ailey dancers make it their own.

The Hunt

Robert Battle’s The Hunt is a primal ritual with a distinctly urban feel fueled by a thundering percussion soundtrack by Les Tambours du Bronx. Perhaps Battle’s most popular work, it explores the relationship between modern sports and the rites of the gladiators.

LIFT

This propulsive world premiere by in-demand choreographer Aszure Barton accentuates the vitality and physical prowess of the Ailey company. Driven by the dancers’ passion, skill and collective power, the work was created over a developmental process with the entire Company. The percussive score, composed by Curtis Macdonald, is infused with the infectious energy and heart that she observed in her initial encounters with the Ailey dancers.

Thu, July 30

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Night Creature

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.

Pas de Duke

Pas de Duke is Alvin Ailey’s spirited modern dance translation of a classical pas de deux, originally created in 1976 as a showcase for Judith Jamison and Mikhail Baryshnikov. She was a reigning star of modern dance; he was one of the world’s most famous ballet dancers, having defected from the Soviet Union two years earlier. Ailey made brilliant use of the dancers’ physical and stylistic differences, crafting an elegant, flirtatious work that showed off their exuberance and virtuosity as they engaged in a playful game of one-upmanship.  

The River

By turns muscular and lyrical, The River is a sweeping full-company work that suggests tumbling rapids and meandering streams on a journey to the sea. Ailey’s allegory of birth, life and rebirth abounds with water references, from the spinning “Vortex” solo to the romantic “Lake” duet, and from the powerful “Falls” quartet to the joyful “Giggling Rapids.” The choreography demonstrates Ailey’s admiration for classical ballet, but retains the modern and jazz influences found in all his work. “The River shows Mr. Ailey at his inventive best,” declared The New York Times.

Revelations

Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul.

Fri, July 31

Alvin Ailey American Dance Theater

Paris, France

8:00 pm

La Grande Salle, Théâtre du Châtelet

Casting
Program subject to change.

Grace

One of the most popular works in the Ailey repertory, Ronald K. Brown’s spellbinding Grace is a fervent tour-de-force depicting individuals on a journey to the promised land. 

After the Rain Pas de Deux

In Christopher Wheeldon’s After the Rain Pas de Deux, a couple performs a haunting pas de deux set to Estonian composer Arvo Pärt’s Spiegel im Spiegel. The work first premiered in 2005 at New York City Ballet’s annual New Combinations Evening, which honors the anniversary of George Balanchine’s birth with world premieres. The dreamlike male-female duet has been widely praised for its sublime simplicity and intricate partnering, and it is revealed in a fresh light as the Ailey dancers make it their own.

Bad Blood

In Bad Blood, emotional passion and kinetic energy encapsulate the powerful yet extremely tender war between the sexes, keeping audiences on the edge of their seats with a daredevil display.

Minus 16

Featuring an eclectic score ranging from Dean Martin to mambo, techno to traditional Israeli music, Ohad Naharin’s Minus 16 uses improvisation and Naharin’s acclaimed “Gaga” method, a unique movement language that breaks down old habits, pushing the dancers to challenge themselves in new ways.