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An era has come to an end at Alvin Ailey American Dance Theater, its repertory in admirable shape, its dancers even more so. 

American Ballet Theatre shows its range with pieces from George Balanchine, Alonzo King, and Jessica Lang, but the dancing and choreography remain uneven throughout. 

Rambert presents an excellent cohort of expressive dancers, but the programme lacked an overall wow factor.

A projection of green sky above shadowy mountains hovered behind their duet, and the curved bodies of the other dancers moved, barely visible, in the darkness of downstage.

Abstract ballet always asks the question of meaning, and Alonzo King Lines Ballet is one of the few companies that answers that question with existential exactness. 

Sneakers gave even the most challenging of balletic steps a freer, looser quality, as if the dancers were about to step into flight.

The world premiere of Figures of Speech at Alonzo King LINES Ballet was notable for the striking, individual beauty of the dancers, and for its towering score, that incorporated fragments of recorded poetry in languages currently threatened with extinction.  

American Dance Platform at The Joyce is a great opportunity to catch a taste of a number of different companies.

This fall, Alonzo King puts his sleek, sinuous stamp on Bach’s Double Violin Concerto, with witty nods to predecessors George Balanchine and Paul Taylor who, in 1941 and 1975 respectively, created two towering classics of dance to the same piece of music.

When discussing visual arts, especially ballet, lines are frequently at the center of the conversation. Body lines, directional lines, a line of thinking, the possibilities are endless. Or, in Alonzo King’s poetic words, lines are “the visible organization of what we see.” This point of view permeates King’s choreography in a stellar performance by Alonzo King LINES Ballet company.

The Propelled Heart des Alonzo King LINES Ballets  mit Soul-Sängerin Lisa Fischer ist sanftmütig, feinfühlig und etwas flau.