By Alix Cohen
Under the leadership of Artistic Director Alicia Graf Mack, an Ailey dancer and Judith Jamison mentee 2005 – 2014, the company begins a chapter with fresh energy. “This monumental season draws deeply on Alvin Ailey’s legacy rooted in celebrating the resilience of the human spirit, while extending its truth and bold virtuosity to reflect this moment in time and our hopes for the future.”

Photo by Paul Kolnik
Jazz Island– World Premiere
Choreography – Maija García
Inspired by Geoffrey Holder’s “Black Gods, Green Islands”
Original score by Etienne Charles
A giant, cratered moon looms above the goddess borne by dancers beneath her long, diaphanous skirt. She observes from a hillock. An innocent flower seller is drawn to the young man who rights her tipped basket Her mother breaks them apart, adamantly pushing her towards a well-heeled, white-suited, smooth-talker. The goddess is on the young woman’s side, while an evil god desires the virgin himself. Love wins.
There’s too much going on, too many characters briefly in and out to achieve flow. Enchantment barely has the opportunity to peer out in gods’ solos and pas de deux. Dissonant sounds pervade. Even when the village (dancers) offer rhythmic unison, there’s so much competition on stage, sympathy pales.

C.Wilson, I. Day, J.Gilmer and M. Jackson Jr – Photo by Paul Kolnik
Following the Subtle Current Upstream
Choreography – Alonzo King – “a piece about how to return to joy,”
Eclectic score by Zakir Hussain, Miguel Frasconi, and Miriam Makeba
Much of this score, which sounds like plucking the inside of a piano and/or thunder, is also unmarmonious. Sections accompanied solely by percussion are exuberant, infectious. Later bells add color as does Makeba’s sonorous voice.
Movement features sinuous, convex/concave chests, rotating shoulders. Arms often rudder- raised above or horizontal during turns. A push-pull element is frequent- hands flat, fingers splayed. Ailey is a leg man. These slide forward almost to a split and backward before a whirl. They kick up, leap straight, and entwine. Connections of dependence seem like choice, rather than necessity.

Yannick Lebrun – Photo by Tyler Whitman
A Song For You (Love Songs excerpt)
Choreography- Alvin Ailey
Originally created for the legendary Dudley Williams. Last performed in 2003
Donny Hathaway’s tender “A Song For You”
‘A beautiful solo showing the power and grace of a man’s body expressing devotion and yearning. Arms wrap around himself then extend- see how I let you in? ‘Consummate control. A corkscrew to the floor ending on knees dramatically finishes.
Signature Masterpiece –Revelations
Choreography- Alvin Ailey
African American spirituals, gospel songs, and blues

Photo by Christopher Duggan
Alvin Ailey drew deeply from his childhood in rural Texas, where the Baptist church and African American spiritual traditions shaped his worldview. He called these influences his “blood memories”—intensely personal recollections of faith, community, and resilience. Revelations debuted at the 92nd Street Y in New York City January 1960. While warmly received, it took time before critics recognized it as the enduring masterpiece it would become.
The piece arrives in three parts:
Pilgrim of Sorrow– struggle, endurance, and faith of African Americans under oppression. Grounded, solemn, deeply spiritual movements expressing grief and resilience.
Take Me to the Water- Baptism, purification, and spiritual renewal. Ritualistic, flowing choreography with white costumes and blue cloths evoking water and cleansing.
Move, Members, Move – Joyful church celebration High-energy finale that captures the spirit of a Black church service and often brings audiences to their feet.

Photo by Dario Calmese
Visually stunning and emotionally stirring, the piece never fails to excite and move one. A must-see.
Opening Photo- Revelations- by Paul Kolnik
Alvin Ailey American Dance Theater
New York City Center Stage through January 4th, 2026
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