By Alix Cohen
Alvin Ailey transformed modern dance by centering Black experience, spirituality, and community in works that speak to universal emotion. His legacy continues to expand access, representation, and cultural pride on stages with two companies providing performance, training, and community programs. Ailey II was founded in 1974 as the Alvin Ailey Repertory Ensemble. It embodies its founder’s mission adding new choreographers and perspective.
Berry Dreamin’ 2025 – Choreography: Chalvar Monteiro, Music, not vocals: by Chuck Berry
Jada Ammons and Xavier Logan
I’m mystified by this piece. Neither a striking, silhouetted clothes line of children’s apparel nor costumes (Dante Baylor) – diaphanous shifts over leotards- seem to have any relationship with the succession of Berry songs. Nor do I understand bridges of loud, electronic hum between parentheses. Choreography doesn’t share a graspable story or offer sustained mood. Technique is splendid.
Third Person Point of View 2025 – Choreography: My’Kal Stromile, Music: Various Artists
Ezra Lovesky’s primary color shirts and contemporary, strapped pants add a playful feel to this piece, creating atmosphere.
Xavier Logan, Jordyn White, and Meredith Brown are outstanding in a non-traditional, three person relationship.Choreography is particularly balletic at its core. A succession of rapid moves, incredibly without sharp edges, are interspersed with a slow motion extension or lift.
The three dancers almost touch as often as they actually intertwine. Logan and White’s characters seem more connected to one another, with Brown outside, seeking admission. Separate axes return to the fold. Variation of relationships are aesthetically pleasing.
Likes VS Life 2025 – Choreography: Renee I. McDonald, Music: Various Artists including dissonant sound vocals
Jada Ammons, Kamani Abu, Adanna Smalls
Kamani Abu, wearing only trunks, arrives primal; haunted, terrified. He runs (in place) and repeatedly falls. Two female dancers push, pull, lean. The three appear to rescue one another. Arms and legs extend as if limbs can’t move except in tandem. Suppleness is omnipresent. There is no respite.
Smoke and Lighting (Harrison Hoffert) are particularly effective, enabling dancers to seamlessly disappear into and emerge out of fog. A parentheses of silhouette is artful. The press release indicates “a depiction of the overwhelming pressures of social media.” Neither choreography nor tribal costume (Heather Craig) would lead us to make the association.
In Session (2025) Choreography: Rena Butler, Music: Darryl J. Hoffman
The Company
Voices rise, talking over one another. We’re at a school or institution. Projection of enormous windows creates scale. The company wears contemporary, trend-interpreted uniforms with cut-out shirts, ties, wide, cropped pants, and socks. (Katie Chihaby) Moving in unison, regimentation reigns. Floor work, frequent in all the new pieces, is lengthy and imaginative. ‘Students’ arch, roll, kick, extend, turn, flatten, spin, undulate. They rhythmically clap and slap their thighs. Arms shoot up. Hip hop moves and vocal rap combine.
A ‘teacher’ attempts control. The company looks bored. “Me being a student still/I’m learning a lot about myself,” someone sings.” You have to be in a place to be vulnerable…whose fault is it really/I was looking for something else,” someone sings. Lifts are intentionally awkward. “Guess we’ll never get to see the day…” someone sings. Representation of forced community and rebellion.
My companion suggested In Session might end with a school shooting.
One needs a map for some of these. Clearer intentions would’ve helped. Information is in the press release, not the program. Dancers are agile, pliant, and disciplined.
Francesca Harper- Artistic Director
Sylvia Waters – Artistic Director Emerita
Alvin Ailey- Founder
The Joyce Theater 175 Eighth Avenue
Coming Up at The Joyce: https://www.joyce.org/?gad_source=1&gad_campaignid=21664888458&gclid=Cj0KCQjwpv7NBhCzARIsADkIfWwzYfCJp16IVoqBeV9SYrZv3jgosQK1c9uE8sB9unPYUZ4Mwj_DN3QaAvz5EALw_wcB
