February 2012 Alvin Ailey American Dance Theater at the Fox Theatre

ThE FabulouS FoX ThEaTrE

February 2012FoxTheatre.org

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YEFIM BRONFMAN, pianoSunday, March 4, 2012 | 3PM | $65Yefim Bronfman redefines the meaning of virtuosity,combining formidable strength and brilliance withnatural sensitivity and grace, rendering performancesof exceptional intelligence and elegance.

“There are some mighty fine pianists on the scene,capable not only of delivering technical fireworks, but of producing experiences rich in musical feeling.One of the best in this regard is Yefim Bronfman”(The Baltimore Sun).

PROGRAM:BRAHMS Piano Sonata No. 3 in F minor, Op. 5LISZT Transcendental Etudes (selections)PROKOFIEV Piano Sonata No. 8 in B-flat major, Op. 84

Outstanding Music …Superb Acoustics

CLAYTON STATE UNIVERSITY, MORROW, GEORGIA

For the complete 2011-2012 season schedule, visit www.SpiveyHall.org.TICKETS: (678) 466-4200

BRENTANO STRINGQUARTETSaturday, April 21, 2012 | 8:15PM | $50Pre-concert Talk 7:15PMMark Steinberg, violin Serena Canin, violinMisha Amory, viola Nina Lee, cello

Among the world’s elite ensembles, the BrentanoString Quartet consistently gives “exemplaryperformances” yielding “startling musicalrevelations.” (The Guardian, London)

Program Fragments, a fascinating montage of piecesby Dufay, Bach, Haydn, Mozart, Schubert, andShostakovich and others. Visit www.spiveyhall.orgfor full program details.

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10 Tear the House Down InMemphis,twoGeorgianatives

explorethemusicoftheirsoul.

14 Memory and Family: The ‘New’ Era of Alvin Ailey

Thisyear’sengagement,thefirst undernewartisticdirector RobertBattle,comprisespremieres, newproductionsanddirections.

48 Fox Fun Facts Howmuchdoyouknowabout

theFox’shistoriclightingfixtures?

54 Graceland Theglorious(andslightlygaudy)

sideofMemphis.

FEaTurES

DEparTmEnTS38 information39 staff/Etiquette40 dining Guide62 Posh dealz: Experience the best Atlanta has for less.

17 Program and notes

ThE pErFormancE

covEr Photo by: KEith dorton

February 2012

To survive cancer, you need an extraordinary team on your side. Northside Hospital Cancer Institute diagnoses and treats more women with breast and gynecologic cancers than any one else in Georgia. Northside was also the only hospital in metro Atlanta chosen by the National Cancer Institute to be a Community Cancer Center, which gives you access to the latest cancer research and treatments. So when we say we offer a lifetime of care, we mean a long, long lifetime.

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contributing writer Danielle Deadwyler and Bret Love

publisher/sales Sherry Madigan White 404.459.4128

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Copyright 2012 AMP Inc. All rights reserved.Reproduction in whole or in part is strictly prohibited. Encore Atlanta is a registered publication of AMP Inc. The publisher shall not be liable for failure to publish an ad, for typographical errors or errors in publication. Publisher reserves the right to refuse any advertising for any reason and to alter advertising copy or graphics deemed unacceptable for publication.

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TEAR THE HOUSE DOWN

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In Memphis, two Georgia natives explore the music of their soul By Bret Love

We caught up with them as they returned home, to learn more about their careers, what makes the Tony Award-winning Memphis special, and what they’re most looking forward while they’re in the Peach State.

You were both raised in fairly small Georgia towns. How did you get interested in theater?Christopher Gurr: I started very young. The public schools in Americus had a very good music program, and I did my first play – an operetta, really – when I was 7. All I ever wanted to be is an actor … who sings … and maybe dances a little. That’s exactly what I’m doing in Memphis, 40-some-odd years later.Jody Reynard: I started performing when I was accepted into the Cobb County Center for Excellence in the Performing Arts at Pebblebrook High School. I was a vocal major for three years and a dance major my senior year. I had many performing opportunities there, and I’ve been seeking out new ones ever since.

How did you break into the business?CG: I left Americus right after high school and went to Webster University in St. Louis. Four years later I had a BFA in musical theater. I booked my first professional gig the summer between my freshman and sophomore years … unless you count a few days I worked as

Atlanta’s Performing Arts Publication 11

In any Broadway-style production, the leading actors usually get more than their fair share of the limelight. But quite often it’s the lesser-known supporting players who help the headliners

shine brightest. The national tour of Memphis features two ensemble members with deep Georgia roots – Christopher Gurr of Americus and Jody Reynard of Austell.

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an extra on a “Wonderful World of Walt Disney” TV movie shot in Lumpkin when I was a little boy. I’m pretty sure I got paid for that, too.JR: I went to Kennesaw State University and graduated with a theater degree, all the while auditioning all around Atlanta and seeking out any and every performing opportunity I could find. I worked with the Atlanta Opera, the Atlanta Shakespeare Tavern and Theater of the Stars at the Fox. That’s how I broke into the business – pounding the local pavement and getting enough experience under my belt to feel confident pounding the pavement of New York City.

Memphis won a slew of awards on Broadway, including the Tony Award for best musical. What makes the show special?CG: What I responded to when I saw the show in New York was the dancing and staging. The movement of this show is still, I think, my favorite part. It’s the part I contribute the least to as a performer – I’m an actor/singer in

this show – so I can stand back and just be a fan of the motion of the world of Memphis.JR: It’s a simple, original story about a man with an idea to change things in a time when social change was imminent. That’s always an intriguing story in my book.

What’s the best part about coming back to Georgia to perform?CG: My family and the Fox Theatre because that’s where I saw my first Broadway show, the national tour of A Chorus Line. I still can’t believe I get to do what I’m doing in my life. I’m a very lucky man.JR: I enjoy performing at the Fox tremendously, and I can’t wait to get some good Southern cooking.

Bret Love is the founder of ecotourism/conservation site GreenGlobalTravel.com; the national managing editor of INsite magazine; and music editor for Georgia Music Magazine. He freelances for national and international publications and does improv with Jackpie at Relapse Theatre.

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By Danielle DeaDwyler

Childhood memories can whirl just as dancers do, undulating or striking like ocean waves we miss but long to be part of again.

Dancers make indelible impressions on children, even if the child never wants to be a dancer. Young fans can recall every detail of their first exposure: the house lights dimming, their favorite piece, how old they were, what they wore. Alvin Ailey American Dance Theater has had that affect on people ever since its namesake and a few friends opened eyes at New York’s 92nd Street Y in 1958.

Continued on page 50

Kirven Boyd, who has progressed from the education department, to the junior company Ailey II, to the main company in his 8-year-old Ailey career, was a high school freshman in 1998 when he first saw the modern-dance company. It calls it the “life-changing experience” that sparked his career.

Alicia Mack was 11 when she saw Ailey perform “Night Creature,” “Memoria” and other pieces on a VHS tape. She majored in history at New York’s Columbia University and studied nonprofit management in graduate school, but dance never let her go. She’s in her fourth season with Alvin Ailey American Dance Theater.

Memory and family: The ‘new’ era of Alvin Ailey

KirvenBoyd

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T:5.625”T:8.625”We all have the desire to create. Whether it be in the arts

or commerce, our desire to achieve is the same. And the pursuit of that goal keeps us going day after day. That’s why we are proud to present Broadway in Atlanta. Like you, we know what it takes to reach your dreams, and

we’ll do our best to help you achieve them.

The things we do for

Fifth Third Bank proudly presents Broadway in Atlanta.

53.com

Fifth Third Bank, Member FDIC. Equal Housing Lender.

Matthew Rushing – Guest Artist

Sharon Gersten Luckman, Executive Director

Major funding is provided by the New York State Council on the Arts, the New York City Department of Cultural Affairs, American Express,

The Atlanta Journal-Constitution, Bank of America, Bristol-Myers Squibb, Ford Foundation, The Hearst Foundations, Prudential Financial, Inc., The Shubert Foundation, The Starr Foundation, Target, Toyota Motor Sales, U.S.A., and Wells Fargo.

Local Support Provided By

Alvin Ailey, FounderJudith Jamison, Artistic Director Emerita

Robert Battle, Artistic Director

Masazumi Chaya, Associate Artistic Director

CoMPANY MEMBERSGuillermo Asca

Kirven James BoydHope Boykin

Sean A. CarmonSarah DaleyGhrai DeVore

Antonio DouthitBelen Estrada

Renaldo GardnerVernard J. Gilmore

Jacqueline GreenDaniel Harder

Demetia HopkinsMichael Jackson, Jr.

Megan JakelYannick LebrunAlicia Graf Mack

Michael Francis McBrideRachael McLaren

Aisha Mitchell

Akua Noni ParkerBriana Reed

Samuel Lee RobertsRenee RobinsonKelly RobothamKanji Segawa

Glenn Allen SimsLinda Celeste Sims

Jermaine TerryMarcus Jarrell Willis



the show

Thursday, February 16, 2012, at 7:30 p.m.

ARDEN COURT (1981)

Choreography by Paul TaylorMusic by William Boyce

Restaged by Cathy McCann BuckSet and costumes by Gene Moore

Lighting by Jennifer Tipton(First performed by the Paul Taylor Dance Company in 1981)

Linda Celeste Sims, Glenn Allen Sims, Antonio Douthit,Kirven James Boyd, Rachael McLaren, Alicia Graf Mack,

Michael Francis McBride, Samuel Lee Roberts, Jermaine Terry

Generous support for this Company premiere was provided by Harlan B. Levine, M.D. and Natasha I. Leibel, M.D.

and The Ellen Jewett & Richard L. Kauffman New Works Endowment Fund.

Original production by the Paul Taylor Dance Company was made possible by contributions from the National Endowment for the Arts, the Mobil Foundation, Inc.,

and the New York State Council on the Arts.

Dance maker Paul Taylor is the last living member of the pantheon that created America’s indigenous art of modern dance. He continues to win acclaim for the vibrancy, relevance and power of his new works as well as his classics, while offering cogent observations on life’s complexities and society’s thorniest issues. His ever-growing collection of works, now numbering 135, is performed by the Paul Taylor Dance Company, Taylor 2, and dance companies throughout the world. The Paul Taylor Dance Company has performed continuously around the globe since Mr. Taylor established it in 1954.

Excerpts from Symphonies Nos. 1, 3, 5, 7, 8 by William Boyce, edited by Max Goberman, by arrangement with Doblinger U.S.A. for the publisher and copyright owner.

-INTERMISSION-


the show

HOME (2011)

Choreography by Rennie HarrisAssistant Choreographer: Nina Flagg

Music by Dennis Ferrer, Raphael XavierCostumes by Jon Taylor

Lighting by Stephen Arnold

Matthew Rushing*,Renee Robinson, Linda Celeste Sims, Hope Boykin, Akua Noni Parker,

Alicia Graf Mack, Kelly Robotham, Belen Estrada, Guillermo Asca,Glenn Allen Sims, Antonio Douthit, Kirven James Boyd, Renaldo Gardner, Michael Jackson, Jr.

Bristol-Myers Squibb is proud to support this new work which was inspired by the “Fight HIV Your Way” initiative.

Lorenzo Rennie Harris was born and raised in an African-American community in North Philadelphia. In 1992, he founded Rennie Harris Puremovement, a hip-hop dance theater company dedicated to preserving and disseminating hip-hop culture. Voted one of the most influential people in the last one hundred years of Philadelphia history, Mr. Harris has received several accolades, including the Herb Alpert Award in the Arts, the Governor’s Arts Award, a United States Artist Fellowship, and an honorary doctorate from Bates College. The London Times wrote of Mr. Harris that he is “the Basquiat of the U.S. contemporary dance scene.” Most recently, Rennie Harris Puremovement was chosen by DanceMotion USA as one of four companies to serve as citizen diplomats, and they will tour Egypt, Israel, Palestinian territories and Jordan in 2012. This season, Ailey’s repertory features both Mr. Harris’ Love Stories (a collaboration with Judith Jamison and Robert Battle) and Home.

* Guest Artist

“Underground Is My Home” written and performed by Dennis Ferrer. Published by Sfere Music (BMI) Administered by Bug. Courtesy of BPM King’s Street Sounds/Nite Groove by arrangement with Bug. All rights reserved. Used by permission. “I See…Do You” composed by Raphael Xavier. Performed by Raphael Xavier, with D. Sabela Grimes.

-INTERMISSION-

TAKADEME (1999)

Choreography by Robert BattleMusic by Sheila Chandra

Costume by MissoniCostume recreated by Jon Taylor

Lighting by Burke Wilmore

Kanji Segawa

Generous support for this Company premiere was provided by The Pamela D. Zilly & John H. Schaefer New Works Endowment Fund

and the Kansas City Friends of Alvin Ailey through the generosity of the Muriel McBrien Kauffman Foundation and individual donors.

“Speaking in Tongues II” performed by Sheila Chandra. Courtesy of Real World Records Ltd.


the show

-PAUSE-

REVELATIONS (1960)

Choreography by Alvin AileyMusic: Traditional

Décor and costumes by Ves HarperCostumes for “Rocka My Soul” redesigned by Barbara Forbes

Lighting by Nicola Cernovitch

PILGRIM OF SORROWI Been ‘Buked ..............................................................................................................The Company

Music arranged by Hall Johnson*

Didn’t My Lord Deliver Daniel .........................Michael Jackson, Jr., Hope Boykin, Aisha MitchellMusic arranged by James Miller+

Fix Me, Jesus ...........................................................................Linda Celeste Sims, Glenn Allen Sims Music arranged by Hall Johnson*

TAKE ME TO THE WATERProcessional/Honor, Honor ............................................... Michael Francis McBride, Megan Jakel, Music adapted and arranged by Howard A. Roberts Samuel Lee Roberts, Marcus Jarrell WillisWade in the Water ............................................ Rachael McLaren, Matthew Rushing^, Briana Reed

Music adapted and arranged by Howard A. Roberts“Wade in the Water” sequence by Ella Jenkins“A Man Went Down to the River” is an original composition by Ella Jenkins

I Wanna Be Ready ................................................................................................Kirven James BoydMusic arranged by James Miller+

MOVE, MEMBERS, MOVESinner Man ......................................... Marcus Jarrell Willis, Antonio Douthit, Vernard J. Gilmore

Music adapted and arranged by Howard A. Roberts

The Day is Past and Gone ..........................................................................................The CompanyMusic arranged by Howard A. Roberts and Brother John Sellers

You May Run On ........................................................................................................The CompanyMusic arranged by Howard A. Roberts and Brother John Sellers

Rocka My Soul in the Bosom of Abraham ................................................................The CompanyMusic adapted and arranged by Howard A. Roberts

^Guest Artist

* Used by arrangement with G. Schirmer, Inc., publisher and copyright owner.+ Used by special arrangement with Galaxy Music Corporation, New York City.

All performances of Revelations are permanently endowed by a generous giftfrom Donald L. Jonas in celebration of the birthday of his wife Barbara

and her deep commitment to Alvin Ailey American Dance Theater.

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CIA0005-June 15 Playbill Ad.pdf 2 6/15/11 12:49 PM


the show

Friday, February 17, 2012, at 8 p.m.

HOME (2011)




Daniel Harder,Briana Reed, Ghrai DeVore, Aisha Mitchell, Sarah Daley,

Jacqueline Green, Demetia Hopkins, Rachael McLaren, Samuel Lee Roberts, Sean A. Carmon, Yannick Lebrun, Marcus Jarrell Willis, Vernard J. Gilmore, Jermaine Terry




-INTERMISSION-


the show

TAKADEME (1999)




Samuel Lee Roberts




-PAUSE-

THE HUNT (2001)

Choreography by Robert BattleAssistant to the choreographer: Erika Pujikic

Music by Les Tambours du BronxCostumes by Mia McSwainLighting by Burke Wilmore

Jermaine Terry, Antonio Douthit, Kirven James Boyd,Yannick Lebrun, Glenn Allen Sims, Marcus Jarrell Willis

Generous support for this Company premiere was provided by The Pamela D. Zilly & John H. Schaefer New Works Endowment Fund and Linda Stocknoff.

“Jungle Jazz” by L. Blomme, performed by Les Tambours du Bronx. “Les Boulets Se Rebiffent” by A. Dipace, J.Y. Lefloch, Y. Nisgand, B. Pingon, and J.M. Tramoy, performed by Les Tambours du Bronx. “Black Bull” by L. Le Mapihan, performed by Les Tambours du Bronx. Music from the recording Silence (1999). Used with permission by Right Bank Music, Inc.

-INTERMISSION-


the show

REVELATIONS (1960)






Didn’t My Lord Deliver Daniel ........................Marcus Jarrell Willis, Hope Boykin, Aisha MitchellMusic arranged by James Miller+

Fix Me, Jesus ................................................................................ Alicia Graf Mack, Yannick Lebrun Music arranged by Hall Johnson*

TAKE ME TO THE WATERProcessional/Honor, Honor ................................................................ Kanji Segawa, Belen Estrada, Music adapted and arranged by Howard A. Roberts Daniel Harder, Samuel Lee RobertsWade in the Water .......................................... Linda Celeste Sims, Vernard J. Gilmore, Briana Reed


I Wanna Be Ready ..................................................................................................Glenn Allen SimsMusic arranged by James Miller+

MOVE, MEMBERS, MOVESinner Man .....................................Samuel Lee Roberts, Jermaine Terry, Michael Francis McBride








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the show

Saturday, February 18, 2012, at 2 p.m.

HOME (2011)









-INTERMISSION-


the show

TAKADEME (1999)




Alicia Graf Mack




-PAUSE-

THE HUNT (2001)

Choreography by Robert BattleAssistant to the choreographer: Erika Pujikic

Music by Les Tambours du BronxCostumes by Mia McSwainLighting by Burke Wilmore

Renaldo Gardner, Daniel Harder, Samuel Lee Roberts,Vernard J. Gilmore, Michael Francis McBride, Kanji Segawa

Generous support for this Company premiere was provided by The Pamela D. Zilly & John H. Schaefer New Works Endowment Fund and Linda Stocknoff.

“Jungle Jazz” by L. Blomme, performed by Les Tambours du Bronx. “Les Boulets Se Rebiffent” by A. Dipace, J.Y. Lefloch, Y. Nisgand, B. Pingon, and J.M. Tramoy, performed by Les Tambours du Bronx. “Black Bull” by L. Le Mapihan, performed by Les Tambours du Bronx. Music from the recording Silence (1999). Used with permission by Right Bank Music, Inc.

-INTERMISSION-


the show

REVELATIONS (1960)






Didn’t My Lord Deliver Daniel ..................................Yannick Lebrun, Ghrai DeVore, Sarah DaleyMusic arranged by James Miller+

Fix Me, Jesus ........................................................................ Akua Noni Parker, Marcus Jarrell Willis Music arranged by Hall Johnson*

TAKE ME TO THE WATERProcessional/Honor, Honor .................................................................. Kanji Segawa, Megan Jakel, Music adapted and arranged by Howard A. Roberts Jermaine Terry, Sean A. CarmonWade in the Water ..................................................Belen Estrada, Renaldo Gardner, Aisha Mitchell


I Wanna Be Ready ..................................................................................................... Guillermo AscaMusic arranged by James Miller+

MOVE, MEMBERS, MOVESinner Man .............................................................Daniel Harder, Sean A. Carmon, Kanji Segawa








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the show

Saturday, February 18, 2012, at 8 p.m.For full credits please see Thursday, February 16, 2012,

at 7:30 p.m. show information.

ARDEN COURT (1981)




Vernard J. Gilmore, Yannick Lebrun, Megan Jakel,Daniel Harder, Demetia Hopkins, Renaldo Gardner,Kelly Robotham, Kanji Segawa, Michael Jackson, Jr.

-INTERMISSION-

HOME (2011)




Matthew Rushing*,Briana Reed, Linda Celeste Sims, Hope Boykin, Akua Noni Parker,Alicia Graf Mack, Kelly Robotham, Belen Estrada, Guillermo Asca,

Glenn Allen Sims, Antonio Douthit, Kirven James Boyd, Renaldo Gardner, Michael Jackson, Jr. * Guest Artist

-INTERMISSION-

TAKADEME (1999)




Yannick Lebrun


the show

-PAUSE-

REVELATIONS (1960)






Didn’t My Lord Deliver Daniel .............Michael Francis McBride, Hope Boykin, Jacqueline GreenMusic arranged by James Miller+

Fix Me, Jesus ...........................................................................Linda Celeste Sims, Glenn Allen Sims Music arranged by Hall Johnson*

TAKE ME TO THE WATERProcessional/Honor, Honor ................................................................ Kanji Segawa, Belen Estrada, Music adapted and arranged by Howard A. Roberts Michael Jackson, Jr., Sean A. CarmonWade in the Water ..................................................Ghrai DeVore, Matthew Rushing^, Briana Reed


I Wanna Be Ready ...................................................................................................Antonio Douthit Music arranged by James Miller+

MOVE, MEMBERS, MOVESinner Man .................................................Sean A. Carmon, Yannick Lebrun, Kirven James Boyd





^ Guest Artist





the show

Sunday, February 19, 2012, at 3 p.m.For full credits please see Thursday, February 16, 2012,

at 7:30 p.m. show information.

ARDEN COURT (1981)




Linda Celeste Sims, Glenn Allen Sims, Antonio Douthit,Kirven James Boyd, Rachael McLaren, Alicia Graf Mack,

Michael Francis McBride, Samuel Lee Roberts, Jermaine Terry

-INTERMISSION-

HOME (2011)






* Guest Artist

-INTERMISSION-

TAKADEME (1999)




Michael Francis McBride

-PAUSE-


the show

REVELATIONS (1960)






Didn’t My Lord Deliver Daniel .....................Samuel Lee Roberts, Belen Estrada, Jacqueline GreenMusic arranged by James Miller+

Fix Me, Jesus .............................................................................. Ghrai DeVore, Marcus Jarrell Willis Music arranged by Hall Johnson*

TAKE ME TO THE WATERProcessional/Honor, Honor ............................................................Kanji Segawa, Kelly Robotham, Music adapted and arranged by Howard A. Roberts Jermaine Terry, Sean A. CarmonWade in the Water ....................................Demetia Hopkins, Vernard J. Gilmore, Alicia Graf Mack


I Wanna Be Ready ......................................................................................Michael Francis McBrideMusic arranged by James Miller+

MOVE, MEMBERS, MOVESinner Man ........................................................Yannick Lebrun, Sean A. Carmon, Daniel Harder








ABOUT THE COMPANY

Alvin Ailey American Dance Theater grew from a now-fabled performance in March 1958 at the 92nd Street Y in New York City. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance. The Ailey company has gone on to perform for an estimated 23 million people at theaters in 48 states and 71 countries on six continents — as well as millions more through television broadcasts. In 2008, a U.S. Congressional resolution designated the Company as “a vital American cultural ambassador to the world” that celebrates the uniqueness of the African-American cultural experience and the preservation and enrichment of the American modern dance heritage. When Mr. Ailey began creating dances, he drew upon his “blood memories” of Texas, the blues, spirituals, and gospel as inspiration, which resulted in the creation of his most popular and critically acclaimed work, Revelations. Although he created 79 ballets over his lifetime, Mr. Ailey maintained that his company was not exclusively a repository for his own work. Today, the Company continues Mr. Ailey’s mission by presenting important works of the past and commissioning new ones. In all, more than 200 works by more than 80 choreographers have been part of the Ailey company’s repertory. Before his untimely death in 1989, Alvin Ailey named Judith Jamison as his successor, and over the next 21 years, she brought the Company to unprecedented success. Ms. Jamison, in turn, personally selected Robert Battle to succeed her in 2011. In announcing his appointment as Artistic Director, she stated, “Combining an intimate knowledge of the Ailey company with an independent perspective, Robert Battle is without question the creative force of the future.”

Alvin Ailey American Dance Theater gratefully acknowledgesThe Joan & Sandy Weill Global Ambassador Fund,

which provides vital support for Ailey’s national and international tours.


the company

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ROBERT BATTLE, ARTISTIC DIRECToRRobert Battle became Artistic Director of Alvin Ailey American Dance Theater in July 2011, making him only the third person to head the Company since it was founded in 1958. Mr. Battle has a long-standing association with the Ailey organization. A frequent choreographer and artist-in-residence at Ailey since 1999, he has set many of his works on Alvin Ailey American Dance Theater and Ailey II, and at The Ailey School. The Company’s current repertory includes his ballets The Hunt, In/Side, Love Stories (a collaboration with Judith Jamison and Rennie Harris), and Takademe. Mr. Battle’s journey to the top of the modern dance world began in the Liberty City neighborhood of Miami, Florida. He showed artistic talent early and studied dance at a high school arts magnet program before moving on to Miami’s New World School of the Arts, under the direction of Daniel Lewis and Gerri Houlihan, and finally to the dance program at The Juilliard School, under the direction of Benjamin Harkarvy, where he met his mentor Carolyn Adams. Mr. Battle danced with the Parsons Dance Company from 1994 to 2001, and also set his choreography on that company starting in 1998. He then founded his own Battleworks Dance Company, which made its premiere in 2002 in Düsseldorf, Germany, as the U.S. representative to the World Dance Alliance’s Global Assembly. Battleworks subsequently performed extensively at venues including The Joyce Theater, Dance Theater Workshop, American Dance Festival, and Jacob’s Pillow Dance Festival. He has also created new works and restaged his ballets for such companies as Introdans, River North Chicago Dance Company, and Ballet Memphis. He has regularly conducted residencies at universities throughout the United States and gives master classes around the globe. Mr. Battle was honored as one of the “Masters of African-American Choreography” by the Kennedy Center for the Performing Arts in 2005, and he received the prestigious Statue Award from the Princess Grace Foundation-USA in 2007. In July 2010, he was a guest speaker at the United Nations Leaders Programme in Turin, Italy.

MASAZUMI CHAYA, ASSoCIATE ARTISTIC DIRECToRMasazumi Chaya was born in Fukuoka, Japan, where he began his classical ballet training. Upon moving to New York in December 1970, he studied modern dance and performed with the Richard Englund Repertory Company. Mr. Chaya joined Alvin Ailey American Dance Theater in 1972 and performed with the Company for 15 years. In 1988, he became the Company’s Rehearsal Director after serving as Assistant Rehearsal Director for two years. A master teacher, both on tour with the Company and in his native Japan, he served as choreographic assistant to Alvin Ailey and John Butler. In 1991, Mr. Chaya was named Associate Artistic Director of the Company. He continues to provide invaluable creative assistance in all facets of its operations. In 2002, Mr. Chaya coordinated the Company’s appearance at the Rockefeller Center Christmas tree-lighting ceremony, broadcast on NBC. Mr. Chaya has restaged numerous ballets, including Alvin Ailey’s Flowers for the State Ballet of Missouri (1990) and The River for the Royal Swedish Ballet (1993), Ballet Florida (1995), National Ballet of Prague (1995), Pennsylvania Ballet (1996) and Colorado Ballet (1998). He has also restaged The Mooche, The Stack-Up, Episodes, Bad Blood, Hidden Rites, Urban Folk Dance, and Witness for the Company. At the beginning of his tenure as Associate

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Artistic Director, Mr. Chaya restaged Ailey’s For “Bird” — With Love for a “Dance in America” program titled “Alvin Ailey American Dance Theater: Steps Ahead.” In 2000, he restaged Ailey’s Night Creature for the Rome opera House and The River for La Scala Ballet. In 2003, he restaged The River for North Carolina Dance Theatre and for Julio Bocca’s Ballet Argentina. Most recently, Mr. Chaya restaged Blues Suite, Mary Lou’s Mass, Three Black Kings, Forgotten Time, Hymn and Streams for the Company. As a performer, Mr. Chaya appeared on Japanese television in both dramatic and musical productions. He wishes to recognize the artistic contribution and spirit of his late friend and fellow artist, Michihiko oka.

ALvIN AILEY, FoUNDERAlvin Ailey was born on January 5, 1931 in Rogers, Texas. His experiences of life in the rural South would later inspire some of his most memorable works. At age 12, he moved with his mother to Los Angeles, where he was introduced to dance by performances of the Ballet Russe de Monte Carlo and the Katherine Dunham Dance Company. His formal dance training began with an introduction to Lester Horton’s classes by his friend, Carmen de Lavallade. Horton, the founder of one of the first racially integrated dance companies in the United States, became a mentor for Mr. Ailey as he embarked on his professional career. After Horton’s death in 1953, Mr. Ailey became director of the Lester Horton Dance Theater and began to choreograph his own works. In 1954, he was invited to dance in the Broadway musical House of Flowers. Mr. Ailey studied dance with Martha Graham, Doris Humphrey, Charles Weidman, Hanya Holm, and Karel Shook and took acting classes with Stella Adler. In 1958, he founded Alvin Ailey American Dance Theater to carry out his vision of a company dedicated to enriching the American modern dance heritage and preserving the uniqueness of the African-American cultural experience. He established the Alvin Ailey American Dance Center (now The Ailey School) in 1969 and formed the Alvin Ailey Repertory Ensemble (now Ailey II) in 1974. Mr. Ailey was a pioneer of programs promoting arts in education, particularly those benefiting underserved communities. Throughout his lifetime, he was awarded numerous honorary doctoral degrees, NAACP’s Spingarn Award, the United Nations Peace Medal, the Dance Magazine Award, the Capezio Award, and the Samuel H. Scripps American Dance Festival Award. In 1988, he received the Kennedy Center Honor in recognition of his extraordinary contribution to American culture. When Mr. Ailey died on December 1, 1989, The New York Times said of him, “You didn’t need to have known [him] personally to have been touched by his humanity, enthusiasm and exuberance and his courageous stand for multiracial brotherhood.”

JUDITH JAMISON, ARTISTIC DIRECToR EMERITAJudith Jamison joined Alvin Ailey American Dance Theater in 1965 and quickly became an international star. over the next 15 years, Mr. Ailey created some of his most enduring roles for her, most notably the tour-de-force solo Cry. During the 1970s and ’80s, she appeared as a guest artist with ballet companies all over the world, starred in the hit Broadway musical Sophisticated Ladies, and formed her own company, The Jamison Project. She returned to Alvin Ailey American Dance Theater

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in 1989, when Mr. Ailey asked her to succeed him as Artistic Director. In the 21 years that followed, she brought the Company to unprecedented heights — including two historic engagements in South Africa and a 50-city global tour to celebrate the Company’s 50th anniversary. Ms. Jamison is the recipient of numerous awards and honors, among them a primetime Emmy Award, an American Choreography Award, the Kennedy Center Honor, a National Medal of Arts, a “Bessie” Award, the Phoenix Award, and the Handel Medallion. She was also listed in “2009 TIME 100: The World’s Most Influential People” and honored by first lady Michelle obama at the first White House Dance Series event. As a highly regarded choreographer, Ms. Jamison has created many celebrated works, including Divining (1984), Forgotten Time (1989), Hymn (1993), HERE . . .NOW. (commissioned for the 2002 Cultural olympiad), Love Stories (with additional choreography by Robert Battle and Rennie Harris, 2004), and Among Us (Private Spaces: Public Places) (2009). Her autobiography, Dancing Spirit, was edited by Jacqueline Kennedy onassis and published in 1993. Ms. Jamison continues to dedicate herself to asserting the prominence of the arts in our culture, and she remains committed to promoting the significance of the Ailey legacy — using dance as a medium for honoring the past, celebrating the present and fearlessly reaching into the future.

MATTHEW RUSHING, REHEARSAL DIRECToR & GUEST ARTISTMatthew Rushing was born in Los Angeles, CA. He began his dance training with Kashmir Blake in Inglewood, CA and later continued his training at the Los Angeles County High School for the Arts. He is the recipient of a Spotlight Award and Dance Magazine Award and was named a Presidential Scholar in the Arts. He was a scholarship student at The Ailey School and later became a member of Ailey II, where he danced for a year. During his career, Mr. Rushing has performed as a guest artist for galas in Vail, Colorado, as well as in France, Russia, Canada, Austria, and Italy. He has performed for presidents George H. Bush, Bill Clinton, George W. Bush, and Barack obama, as well as at the 2010 White House tribute to Judith Jamison. During his time with the Company he has choreographed two ballets: Acceptance In Surrender (2005), a collaboration with Hope Boykin and Abdur Rahim-Jackson, and Uptown (2009), a tribute to the Harlem Renaissance. Mr. Rushing joined the Company in 1992 and became Rehearsal Director in June 2010.

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GUILLERMO ASCA (Rego Park, NY) or “Moe,” as he is affectionately known, graduated from LaGuardia High School of the Performing Arts. He was a scholarship student at The Ailey School and danced with Ailey II, Ballet Metropolitano de Caracas, Ballet Hispanico, Dance Compass, Shapiro & Smith, and Footprints Dance Project. In 2010, he performed at the White House tribute to Judith Jamison. Mr. Asca joined the Company in 1994.KIRVEN JAMES BOYD (Boston, MA) began his formal dance training at the Boston Arts Academy and joined Boston Youth Moves in 1999 under the direction of Jim Viera and Jeannette Neill. He also trained on scholarship at the Boston Conservatory and as a scholarship student at The Ailey School. Mr. Boyd has danced with Battleworks Dance Company, The Parsons Dance Company, and Ailey II. He performed at the White House tribute to Judith Jamison in 2010. Mr. Boyd joined the Company in 2004.HOPE BOYKIN (Durham, NC) is a three-time recipient of the American Dance Festival’s Young Tuition Scholarship. She attended Howard University and while in Washington, DC, she performed with Lloyd Whitmore’s New World Dance Company. Ms. Boykin was a student and intern at The Ailey School. She was assistant to the late Talley Beatty and an original member of Complexions. Ms. Boykin was a member of Philadanco and received a New York Dance and Performance “Bessie” Award. In 2005, Ms. Boykin choreographed Acceptance in Surrender in collaboration with Abdur-Rahim Jackson and Matthew Rushing for Alvin Ailey American Dance Theater. Most recently, she choreographed Go In Grace with award-winning singing group Sweet Honey in the Rock for the Company’s 50th anniversary season. Ms. Boykin joined the Company in 2000.SEAN A. CARMON (Beaumont, TX) began his dance training under Bonnie Cokinos with guidance from Lucia Booth and Eva LeBlanc. He was a member of Elisa Monte Dance and is a graduate of the Ailey/Fordham B.F.A. Program in Dance. Mr. Carmon was an

original cast member of the 2010 revival of La Cage aux Folles on Broadway and was also a cast member of the Broadway production of The Phantom of the Opera. As an assistant to Christopher L. Huggins, he appeared as a guest artist with the International Dance Association in Italy and with the Cape Dance Company in South Africa. Mr. Carmon joined the Company in 2011.SARAH DALEY (South Elgin, IL) began her training at the Faubourg School of Ballet in Illinois under the direction of Watmora Casey and Tatyana Mazur. She is a 2009 graduate of the Ailey/Fordham B.F.A. Program in Dance. Ms. Daley has trained at institutions such as The Kirov Academy, National Ballet School of Canada, The San Francisco Conservatory of Dance, and intensives such as Ballet Camp Illinois and Ballet Adriatico in Italy. She is a recipient of a Youth American Grand Prix Award and an ARTS Foundation Award. She was a member of Ailey II and joined the Company in 2011.GHRAI DeVORE (Washington, DC) began her formal dance training at the Chicago Multicultural Dance Center and was a scholarship student at The Ailey School. She has completed summer programs at the Kirov Academy, Ballet Chicago, Deeply Rooted Dance Theater, American Ballet Theatre, and Alonzo King’s Lines Ballet. Ms. DeVore was a member of Deeply Rooted Dance Theater 2, Hubbard Street 2, Dance Works Chicago, and Ailey II. She is a recipient of the Danish Queen Ingrid Scholarship of Honor and the Dizzy Feet Foundation Scholarship, and she was a 2010 nominee for the first annual Clive Barnes Award. Ms. DeVore joined the Company in 2010.ANTONIO DOUTHIT (St. Louis, Mo) began his dance training at age 16 at the Center of Contemporary Arts under the direction of Lee Nolting and at the Alexandra School of Ballet. He also trained at North Carolina School of the Arts, the Joffrey Ballet School, San Francisco Ballet, and the Dance Theatre of Harlem School. Mr. Douthit became a

WHO’S WHO IN THE COMPANY

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member of Dance Theatre of Harlem in 1999 and appeared in featured roles in the ballets South African Suite, Dougla, Concerto in F, Return, and Dwight Rhoden’s Twist. He was promoted to soloist in 2003. He also performed with Les Grands Ballets Canadiens de Montréal. Mr. Douthit joined the Company in 2004.BELEN ESTRADA (Lawrence, MA) began her formal dance training at the Boston Arts Academy, where she graduated as valedictorian. She has been mentored by Earl Mosley and danced with Camille A. Brown & Dancers for three years, during which time she performed at The Joyce Theater, Jacob’s Pillow, and the Dancers Responding to AIDS 1events Dance from the Heart and The Fire Island Dance Festival. Ms. Estrada was an apprentice for Ronald K. Brown/Evidence, A Dance Company, and has performed with Lula Washington Dance Theater, Nathan Trice, and Roger C. Jeffrey. She assisted Matthew Rushing with his ballet Uptown for the Ailey company in 2009. Ms. Estrada joined the Company in 2011.RENALDO GARDNER (Gary, IN) began his dance training with Tony Simpson and is a graduate of Talent Unlimited High School. He attended the Emerson School for Visual and Performing Arts and studied with Larry Brewer and Michael Davis. Mr. Gardner was a scholarship student at The Ailey School, has trained on scholarship at Ballet Chicago and Deeply Rooted Dance Theater, and had an internship at the Martha Graham School of Contemporary Dance. In 2008, he received second place in modern dance from the National Foundation for Advancement in the Arts and received the Dizzy Feet Scholarship in 2009. He was a member of Ailey II and joined the Company in 2011.VERNARD J. GILMORE (Chicago, IL) began dancing at Curie Performing and Creative Arts High School in Chicago and later studied at the Joseph Holmes Chicago Dance Theatre with Harriet Ross, Marquita Levy, and Emily Stein. He attended Barat College as a dance scholarship recipient and received first place in the all-city NAACP ACT-So Competition in

Dance in 1993. He studied as a scholarship student at The Ailey School and was a member of Ailey II. In 2010, he performed at the White House tribute to Judith Jamison. Mr. Gilmore is an active choreographer for the Ailey Dancers Resource Fund and has choreographed for Fire Island Dance Festival 2008 and Jazz Foundation of America Gala 2010; he also produced the Dance of Light Project in January 2010. Mr. Gilmore is a certified Zena Rommett Floor-Barre® instructor. He continues to teach workshops and master classes around the world. Mr. Gilmore joined the Company in 1997.JACQUELINE GREEN (Baltimore, MD) began her dance training at the Baltimore School for the Arts under the direction of Norma Pera, Deborah Robinson, and Anton Wilson. She is a graduate of the Ailey/Fordham B.F.A. Program in Dance. Ms. Green has attended summer programs at Pennsylvania Regional Ballet, Chautauqua Institution, Earl Mosley’s Institute of the Arts, and Jacob’s Pillow. She was the recipient of the Martha Hill’s Young Professional Award in 2009 and the Dizzy Feet Scholarship in 2010. Ms. Green was a member of Ailey II and joined the Company in 2011.DANIEL HARDER (Bowie, MD) began dancing at Suitland High School’s Center for the Visual and Performing Arts in Maryland. He is a recent graduate of the Ailey/Fordham B.F.A. Program in Dance, where he was awarded the Jerome Robbins/Layton Foundation Scholarship and participated in the Holland Dance Festival with the School and as a member of the Francesca Harper Project. After dancing in the European tour of West Side Story, Mr. Harder became a member of Ailey II. He joined the Company in 2010.DEMETIA HOPKINS (orange, VA) began her dance training at the orange School of Performing Arts under the direction of her uncle Ricardo Porter and Heather Powell. She has studied with the National Youth Ballet of Virginia, Virginia School of the Arts, the Summer Dance International Course in Burgos, Spain, The Rock School, and Dance Theatre of Harlem School. Ms. Hopkins graduated with honors from the Ailey/

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Fordham B.F.A. Program in Dance in 2009. She was recently selected as a recipient of a Leonore Annenberg Fellowship in the Arts. Ms. Hopkins was a member of Ailey II and joined the Company in 2010.MICHAEL JACKSON, JR. (New orleans, LA) began his dance training at age 14 at the Duke Ellington School of the Arts in Washington, DC, under the direction of Charles Augins. He became a member of Dance Theatre of Harlem Dancing through Barriers Ensemble in 2005. In 2006, he joined Dallas Black Dance Theatre and, in 2008, joined Philadanco, where he also worked as Artistic Director of D3. Mr. Jackson joined the Company in 2011.MEGAN JAKEL (Waterford, MI) trained in ballet and jazz in her hometown. As a senior in high school, she spent a year dancing with the City Ballet of San Diego. In 2005, Ms. Jakel was an apprentice and rehearsal director for the Francesca Harper Project. She graduated with honors in May 2007 from the Ailey/Fordham B.F.A. Program in Dance. She was a member of Ailey II and joined the Company in 2009.YANNICK LEBRUN (Cayenne, French Guiana) began training in his native country at the Adaclam School under the guidance of Jeanine Verin. In 2004, he moved to New York City to study at The Ailey School as a scholarship student. Mr. Lebrun has performed with the Francesca Harper Project Modo Fusion. He was named one of Dance Magazine’s “25 to Watch” in 2011. Mr. Lebrun was a member of Ailey II and joined the Company in 2008.ALICIA GRAF MACK (Columbia, MD) trained at Ballet Royäle Institute of Maryland under Donna Pidel and attended summer intensives at the School of American Ballet and American Ballet Theatre. Prior to dancing with Alvin Ailey American Dance Theater from 2005 to 2008, Ms. Mack was a principal dancer with Dance Theatre of Harlem and a member of Complexions Contemporary Ballet. In addition to several galas and festivals, she has been a guest performer with Alonzo King’s LINES Ballet and with André 3000 and Beyoncé at Radio City Music Hall. She is the recipient of the Columbia University Medal

of Excellence and Smithsonian Magazine’s Young Innovator Award. Ms. Mack graduated magna cum laude with honors in history from Columbia University and received an M.A. in nonprofit management from Washington University in St. Louis. She is also a guest writer for several nationally distributed dance publications. Most recently, Ms. Mack served as a Visiting Assistant Professor of Dance at Webster University in St. Louis. Ms. Mack rejoined the Company in 2011.MICHAEL FRANCIS McBRIDE (Johnson City, NY) began his training at the Danek School of Performing Arts and later trained at Amber Perkins School of the Arts in Norwich, NY. Mr. McBride attended Earl Mosley’s Institute of the Arts for two consecutive summers and was also assistant to Mr. Mosley when he set the piece Saddle UP! on the Company in 2007. Mr. McBride graduated magna cum laude from the Ailey/Fordham B.F.A. Program in Dance in 2010 after he joined the Company in 2009.RACHAEL McLAREN (Manitoba, Canada) began her formal dance training at the Royal Winnipeg Ballet School. After graduating from high school, Ms. McLaren joined the Toronto cast of Mamma Mia! She moved to New York to study at The Ailey School as a scholarship student and later joined Ailey II. She joined the Company in 2008.AISHA MITCHELL (Syracuse, NY) received her primary dance training at the onondaga Dance Institute, Dance Centre North, and with Anthony Salatino of Syracuse University. She studied at North Carolina Dance Theatre, Lines Ballet School, The Joffrey Ballet School, and The Ailey School as a scholarship student. Ms. Mitchell is a graduate of the Ailey/Fordham B.F.A. Program in Dance and was a member of Ailey II. She was a medalist at the NAACP National ACT-So competition and recently served as co-choreographer for the Syracuse opera’s Les Pecheurs de Perles. Ms. Mitchell joined the Company in 2008.AKUA NONI PARKER (Kinston, NC) began her ballet training at the age 3 and moved to Wilmington, DE, at age 12 to continue her professional training at the Academy of the

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Dance. In 2000, she joined Dance Theatre of Harlem, where she danced lead roles in Agon, Giselle, and The Four Temperaments. Thereafter she danced with Cincinnati Ballet and Ballet San Jose. Ms. Parker has performed around the world and had worked with legendary icons Fredric Franklin and Geoffrey Holder. She joined the Company in 2008.BRIANA REED (St. Petersburg, FL) began her dance training at the Academy of Ballet Arts and the Pinellas County Center for Arts. She then studied at The Ailey School as a scholarship student. In 1997, Ms. Reed graduated from The Juilliard School and became a member of Ailey II. In 2010, she performed at the White House tribute to Judith Jamison. She is a licensed Gyrotonic instructor. Ms. Reed joined the Company in 1998.SAMUEL LEE ROBERTS (Quakertown, PA) began his dance training under the direction of Kathleen Johnston and attended The Juilliard School. He performed in the first international show of Radio City Christmas Spectacular in Mexico City and danced with the New York cast from 1999-2004. Mr. Roberts performed during the award ceremony at the 2002 Salt Lake City Winter olympics, danced with Corbin Dances and Keigwin + Company, and was a founding member of Battleworks Dance Company. In May 2006, Mr. Roberts was named Dance Magazine’s “on the Rise” dancer. He also performed several roles in Julie Taymor’s film Across the Universe and the original opera Grendel. Mr. Roberts joined the Company in 2009.RENEE ROBINSON (Washington, DC) began her training in classical ballet at the Jones-Haywood School of Ballet. She was the recipient of two Ford Foundation scholarships to the School of American Ballet and was awarded full scholarships to the Dance Theatre of Harlem School and The Ailey School. She performed at the White House State Dinner in honor of the President of Kenya, Mwai Kibaki in 2003, and at the White House tribute to Judith Jamison in 2010. Ms. Robinson was a member of Ailey II and joined the Company in 1981.

KELLY ROBOTHAM (New York, NY) is a graduate of New World School of the Arts and trained as a scholarship student at The Ailey School and Dance Theater of Harlem. She is also a graduate of The Juilliard School, where she worked with Robert Battle. In 2009, Ms. Robotham was selected from The Juilliard Dance Division to participate in a cultural exchange tour to Costa Rica and soon after became an apprentice with River North Chicago Dance Company. She was a member of Ailey II and joined the Company in 2011.

KANJI SEGAWA (Kanagawa, Japan) began his modern dance training with his mother, Erika Akoh, and studied ballet with Kan and Ju Horiuchi at Unique Ballet Theatre in Tokyo. In 1997, Mr. Segawa came to the United States under the Japanese Government Artist Fellowship to train at The Ailey School. Mr. Segawa is a former member of Ailey II (2000-02) and Robert Battle’s Battleworks Dance Company from (2002-10). He worked extensively with choreographer Mark Morris from 2004 to 2011, repeatedly appearing in Mr. Morris’ various productions, including as a principal dancer in John Adam’s Nixon in China at Metropolitan opera. He has also performed with Jennifer Muller/The Works, Aszure Barton’s Aszure and Artists, and Jessica Lang Dance. Mr. Segawa joined the Company in 2011.

GLENN ALLEN SIMS (Long Branch, NJ) began his classical dance training at the Academy of Dance Arts in Red Bank, NJ. He attended The Juilliard School under the artistic guidance of Benjamin Harkarvy. In 2004, Mr. Sims was the youngest person to be inducted into the Long Branch High School’s Distinguished Alumni Hall of Fame. He has been seen in several network television programs including “BET Honors,” “Dancing With the Stars” and “The Today Show.” In 2010, Mr. Sims taught as a master teacher in Ravenna, Italy for “Dance Up Ravenna,” sponsored by International Dance Association, and performed in the White House tribute to Judith Jamison. He has performed for the King of Morocco and is a certified Zena Rommett Floor-Barre® instructor. In summer 2011, Mr. Sims wrote a featured

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guest blog for Dance Magazine. Mr. Sims joined the Company in 1997.LINDA CELESTE SIMS (Bronx, NY) began her dance training at Ballet Hispanico School of Dance and is a graduate of LaGuardia High School of the Performing Arts. In 1994, Mrs. Sims was granted an award by the National Foundation for Advancement in the Arts. She has been highlighted in the “Best of 2009” list in Dance Magazine and has performed as a guest star on “So You Think You Can Dance,” “Dancing With the Stars” and “The Today Show.” She has also made guest appearances at the White House tribute to Judith Jamison, Youth America Grand Prix, Vail International Dance Festival, and galas in Budapest and Vienna. Mrs. Sims joined the Company in 1996.JERMAINE TERRY (Washington, DC) began his dance training in Kissimmee, FL, at James Dance Center. He graduated cum laude with a B.F.A. in Dance Performance from the University of South Florida, where he received scholarships for excellence in performance and choreography. Mr. Terry was a scholarship student at The Ailey

School and a member of Ailey II, and he has performed with Buglisi Dance Theater, Arch Dance, Dance Iquail, and Philadanco. He joined the Company in 2010.MARCUS JARRELL WILLIS (Houston, TX) began his formal training at the Johnston Performing Arts Middle School, the High School for the Performing and Visual Arts, and Discovery Dance Group in Houston, Texas. At age 16, he moved to New York City and studied at The Ailey School as a scholarship student. Mr. Willis is a recipient of a Level 1 ARTS award given by the National Foundation for the Advancement in the Arts and has received scholarships to many schools, including The Juilliard School. He was a member of Ailey II and also worked with Pascal Rioult Dance Theater, Dominic Walsh Dance Theater, and Tania Pérez-Salas Compañía de Danza. Mr. Willis joined the Company in 2008.

The Ailey dancers are supported, in part, by The Judith McDonough Kaminski

Dancer Endowment Fund.

ALvIN AILEY DANCE FOUNDATION BOARD OF TRUSTEESJoan H. Weill, Chairman

Henry McGee, President

Simin N. Allison, Guido Goldman, Debra L. Lee, Linda M. Lindenbaum,Arthur J. Mirante II, John H. Schaefer, Christopher J. Williams, Vice-Chairmen

James G. AbruzzoGina F. Adams

Eleanor S. ApplewhaiteRobert Battle

Antoinette Cooper BlairJudith Byrd

Anthony M. CarvetteKathryn C. Chenault

David S. DanielCatherine DavisDaria L. Foster

Anita-Agnes o. HassellRobert KissaneMichelle Y. Lee

Anthony A. LewisSharon Gersten Luckman

Leslie L. MaherasArthur J. MahonDavid E. Monn

Gabriella E. MorrisRobin Royals

Richard SpecialeLemar Swinney

Philip Laskawy, Harold Levine, Stanley Plesent, Esq., Chairmen Emeriti

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ALvIN AILEY DANCE FOUNDATION ADMINISTRATIvE STAFFRecipient of a National Medal of Arts

Sharon Gersten Luckman — Executive DirectorCalvin Hunt – Senior Director, Performance and Production

Bennett Rink – Senior Director, Development and External AffairsPamela Robinson – Chief Financial officer

ALvIN AILEY AMERICAN DANCE THEATER

Matthew Rushing ....Rehearsal Director & Guest ArtistLinda Celeste Sims .... Assistant to the Rehearsal DirectorDacquiri T’Shaun Smittick ..............Company Manager E.J. Corrigan ..................................Technical Director Isabelle Quattlebaum ....................Business Manager Kristin Colvin Young ............................Stage Manager Nicole A. Walters ................. Assistant Stage Manager Jon Taylor ................................. Wardrobe Supervisor Al Crawford ...................................... Lighting Director Roya Abab ........................ Assistant Lighting DirectorDavid Kerr ..................................... Master Electrician Joe Gaito ....................................... Master Carpenter Russell J. Cowans IV .........................Sound Engineer Edward De Jesus .............................. Property Master

Andrew Blacks ...............................................Flyman Curtis Reik................................. Assistant Electrician Dante Baylor ............................... Wardrobe AssistantErika Kuehn ................................ Wardrobe Assistant Mychael Chinn ............... Assistant Company ManagerChristina Collura ....Performance and Production AssociateGina Costagliola .........................Production AssistantDonald J. Rose, M.D. ........................... Director of the

Harkness Center for Dance Injuries, Hospital for Joint Disease

Shaw Bronner ................. Director of Physical Therapy Sheyi ojofeitimi ............................. Physical TherapistChristine Keller ............................. Physical Therapist

TOURING CONTACT

Paul Szilard, Impresario Emeritus

PRODUCTION CREDITSLighting system provided by 4Wall Entertainment.

Touring sound system provided by Gibson Entertainment Services. Domestic trucking services provided by Stage Call Corporation.

Alvin Ailey is a proud member of Dance/USA, the national service organization for professional dance.

AILEY TOUR MERCHANDISEAiley Tour Merchandise and AileyShop.com are managed by The Araca Group

www.AileyShop.com

Alvin Ailey American Dance TheaterThe Joan Weill Center for Dance

405 West 55th StreetNew York, NY 10019-4402

Tel: (212) 405-9000 Fax: (212) 405-9001www.AlvinAiley.org

www.facebook.com/AlvinAileyAmericanDanceTheater

North American AgentoPUS 3 ARTISTS

470 Park Avenue South, 9th Fl NorthNew York, NY 10016

Telephone: 212 584 7500Fax: 646 300 8200

www.opus3artists.com

International AgentASKoNAS HoLT LTD.

Lincoln House, 300 High Holborn,London WC1V 7JH, United Kingdom

Telephone: +44 20 7400 1700Fax: +44 20 7400 1799

Jonathan Fleming, Senior Project [email protected]


The TheatreA fully restored 1929 “movie Palace,” the Fox theatre, with 4,678 seats, is a multiple-purpose facility, housing Broadway shows, ballet, symphonies, concerts, movies, and private corporate events.

Private Roomsthe Fox theatre has three private rental spaces, with accommodations for 25 to 1,200 guests. our Egyptian Ballroom and Grand Salon are beautifully decorated and can be set up to your specifications. the landmarks lounge is adjacent to the lobby and is perfect for a small pre-show and intermission event. to book your ”Fabulous Fox“ evening, please call 404.881.2100 or visit us at www.foxtheatre.org.

The Box Officethe Fox theatre Box office is located in the arcade entrance to the theatre. the Box office is open for walk up ticket sales monday-Friday, 10:00 a.m.-6:00 p.m., and Saturday, 10:00 a.m.-3:00 p.m. the Fox theatre Box office is not open on Sundays unless there is a performance. on event days, the Box office opens two hours prior to show time. Doors to the Fox open one hour prior to show time. tickets for all performances at the Fox may be purchased at any tIcKEtmAStEr outlet, by calling tIcKEtmAStEr at 800.745.3000, or by visiting the Fox theatre Box office in person during regular Box office hours.

Group Salesthe Fox theatre Group Sales Department offers discounts to Groups for most Broadway shows. the Group Sales office is open monday-Friday from 9am to 5pm. call 404 881-2000 or email [email protected].

Concessionsconcession stands are located in the Spanish room, main lobby, and on the mezzanine lobby level.

Restroomsrestrooms are located off the main lobby (downstairs), mezzanine lobby levels, and the Gallery level. Accessible restroom facilities are located in the Spanish room and Accessible/Family restrooms are located through the office door in the main lobby.

Gift Shopthe Fox theatre operates a gift shop selling history books, t-shirts, sweatshirts, and an assortment of other theatre-related merchandise. the gift shop is located in the Spanish room.

Tourstours of the Fox theatre are available through the Atlanta Preservation center. tours are conducted mondays, Wednesdays, and thursdays at 10:00 a.m. and Saturdays at 10:00 a.m. and 11:00 a.m. tours begin in the Peachtree Street Arcade entrance to the theatre. For more information on tours and to confirm the tour schedule, please call the Atlanta Preservation center at 404.688.3353.

Lost and Foundlost and Found items are turned in to the House manager’s office. to check on lost items, please call the House manager at 404.881.2075. lost and Found items will be retained for 30 days.

Emergency InformationIn the event of an emergency, please walk to the nearest exit. Do not run.

Smoking In accordance with the Fulton county clean Air ordinance, the Fox theatre is a smoke-free facility. Smoking is only permitted in designated areas.

Special NeedsKen Shook, Patron Services coordinator, is our liaison to the disabled community. He can be reached at 404.881.2118 and can provide information on the locations and prices of accessible seating and other programs for the disabled. the Fox theatre also has a brochure detailing all these programs for our patrons with special needs. this brochure is available at the concierge Desk in the Arcade. An audio clarification device (Phonic Ear) is available for patrons with hearing disabilities. It is available, free of charge, on a first-come, first-serve basis on the evening of a performance, or you may reserve a device by calling the Patron Services Director. A limited number of booster seats are also available free of charge.

ElevatorsElevators are located at the north end of each lobby. the elevators are available during all performances and make it possible to access each lobby without the use of stairs. Patrons should be aware that access to upper seating areas do involve stairs.

ParkingParking is available within a four-block radius in all directions of the Fox theatre. Advanced reserved parking is available for sale at the Fox Box office or by calling tIcKEtmAStEr at 800.745.3000. the Fox theatre assumes no responsibility for vehicles parked in any of the privately owned parking lots operating in the Fox theatre district.

Performance NotesAll patrons, regardless of age, must have a ticket in order to be admitted to the theatre. not all events are suitable for children. Infants will not be admitted to adult programs/performances. Parents will be asked to remove children who create a disturbance.

latecomers will be seated at the discretion of the management, in conjunction with the wishes of the producers.Please turn off all pagers and cell phones prior to the beginning of each performance. camera and recording devices are strictly prohibited.

Backstage employees are represented by the International Alliance of theatrical Stage Employees (I.A.t.S.E.)

FOR YOUR INFORMATION


The FOx TheATRe660 Peachtree Street, n.E.Atlanta, Georgia 30308

404.881.2100 • www.foxtheatre.org

STAFFAllan c. Vella . . . . . . . . . . . . . . . . . . . General managerAdina Alford Erwin . . . . . . . . Assistant General managerPat “Sunshine” tucker . . . Director of ticketing & Box officerobert Burnett . . . . . . . . . . . . . . . . . . . . . . . . . controllerrick robbins . . . . . . . . . . . . . . . . . . . Assistant controllerJennifer S. Farmer . . . . . . . . . Director of Sales/Ballroomsoliver Diamantstein. . . . . . Director of Food and Beveragelen tucker. . . . . . . . . . . . . . . . . . . Director of operations Pat Prill. . . . . . . . . . . . . . . . . . . . . . . . . .House managerGreta Duke. . . . . . . . . . . . . . . . Assistant House managerKristen Delaney. . . . . . . . . . . . Director of marketing & PrKen Shook . . . . . . . . . . . . . . Patron Services coordinatorShelly Kleppsattel . . . . . . . .Booking & contract Associate Jamie Vosmeier. . . . . . Director of Group Sales, Education

& community outreachmolly Fortune . . . . . . . Preservation Department managerAmy Smith . . . . . . . . . . . . . . . . . . . Production managerrebecca J. Graham. . . . . . .Assistant Production managerGary Hardaway . . . . . . . . . . . . . . . . . .master carpenterlarry Watson . . . . . . . . . . . . . . . . . . . . . . House FlymanScott Hardin . . . . . . . . . . . . . . . . . . . . . . Property masterray t. Haynie . . . . . . . . . . . . . . . . . . . master Electriciancary oldknow . . . . . . . . . . . . . . . . . Assistant Electricianrodney Amos . . . . . . . . . . . . . . . . Head Sound Engineerlarry-Douglas Embury. . . . . . . . . . organist In residencetammy Folds. . . . . . . . . . . . Production Security manager

exeCUTIVe COMMITTee AND BOARD MeMBeRS

Alan E. thomas. . . . . . . . . . . . . . .chairman of the BoardEdward l. White . . . . . . . . . . . . . . . . . . . . . . . . PresidentBeauchamp c. carr. . . . . . . . . . . . . . . 2nd Vice PresidentJohn A. Busby Jr.. . . . . . . . . . . . . . . . . 3rd Vice PresidentJulia Sprunt Grumbles . . . . . . . . . . . . . 4th Vice PresidentEdward Hutchison . . . . . . . . . . . . . . . . . . . . . . .treasurerrobyn rieser Barkin . . . . . . . . . . . . . . Assistant treasurerclara Hayley Axam. . . . . . . . . . . . . . . . . . . . . SecretaryWalter r. Huntley Jr. . . . . . . . . . . . . . . . member at largerobert E. minnear . . . . . . . . . . . . . . . . . member at largecarl V. Patton.. . . . . . . . . . . . . . . . . . . . member at large

Ada lee correll, richard courts IV, Keith cowan, robert l. Foreman Jr., F. Sheffield Hale, John r. Holder, Florence Inman, craig B. Jones, Steve Koonin, charles lawson, Starr moore, Jay myers, Joe G. Patten, Glen J. romm, Sylvia russell, nancy Gordy Simms, clyde c. tuggle, carolyn lee Wills.

hONORARY BOARD MeMBeRSAnne cox chambers, Arnall (Pat) connell,rodney mims cook Jr., Jere A. Drummond,

richard o. Flinn III, Arthur montgomery, Joseph V. myers Jr., Edward J. negri, Edgar neiss, Herman J. russell,

Preston Stevens Jr.

Official Beverage of The Fox Theatre Official Airline of The Fox Theatre

Official Vehicle of The Fox Theatre

Official Hotel of The Fox Theatre Official Restaurant of The Fox Theatre

eTIqUeTTe

1. Please arrive early. Latecomers may not be seated until intermission.2. Take care of personal needs (drinks of water or restroom) before the performance begins. 3. Please silence or turn off all electronic devices, including cell phones, beepers, and watch alarms. We encourage you to share your experience at the Fox via social media, but please refrain from doing so or texting during performances; the glow from your device is distracting.4. Most shows do not allow photography of any kind. Flash photography inside the theatre is never allowed as it is a distraction to those around you and a danger to the performers.5. The overture is part of the performance. Please cease talking at this point. 6. Dear Lovebirds, when you lean your heads together, you block the view of the people behind you. Please consider the people that will be seated behind you when choosing whether or not to wear a hat or what hair style you choose. 7. Please refrain from talking, humming, or singing along with the show, except when encouraged to do so by the artist or show. 8. Please wait for an appropriate moment to dig something out of your pocket or bag. 9. Go easy with the perfume and cologne, many people are highly allergic. 10. If you need assistance during the show, please go to your nearest volunteer usher. If additional assistance is needed the usher will get the appropriate person to further help you.11. Yes, the parking lot gets busy and public transportation is tricky, but leaving while the show is in progress or before the actors have taken their final bows is discourteous. Wait until it is over and then exit with the rest of the audience.


Fox theatre Dining guiDe

Lenox Square Grill offers breakfast, lunch and dinner daily. DJ every Friday and Saturday night til 2am. Private meeting rooms accommodate up to 150. 3393 Peachtree Rd. NE, 404-841-2377, lenoxsquaregrill.com. BLivingston Restaurant and Bar It’s hard to beat the location (across from the Fox theatre in the Georgian terrace), and diners get complimentary parking, but the main attraction is the glamour of the main dining room, which has hosted the likes of clark Gable, and the al fresco seating area, which is available in warm weather. 659 Peachtree St. NE, 404-897-5000, livingstonatlanta.com. M Lobby the menu focuses on seasonal fare at this sophisticated American restaurant in the lobby of tWElVE Atlantic Station. 361 17th St., 404-961-7370, lobbyattwelve.com. MONE.midtown kitchen Dine on fresh, seasonal American cuisine in a club-like atmosphere near Piedmont Park. 559 Dutch Valley Rd., 404-892-4111, onemidtownkitchen.com. MThe Melting Pot is the premiere fondue restaurant where guests can enjoy a choice of fondue cooking styles and a variety of unique entrees, salads

and indulgent desserts. Four Atlanta locations, including 754 Peachtree St. NE, 404-389-0099, meltingpot.com. MMurphy’s this restaurant has one of the city’s top brunch menus, but it’s known for great people-watching and its contemporary comfort food. 997 Virginia Ave., 404-872-0904, murphysvh.com. VHTaco Mac Atlanta’s favorite family friendly sports restaurant and bar since 1979. consistently voted best wings and beer selection, taco mac has something for everyone. 25 metro Atlanta locations, including 933 Peachtree St. NE, blocks away from the Fox Theatre. 678-904-7211, tacomac.com. MTwo Urban Licks “Fiery” American cooking meets live music at this hip hangout. 820 Ralph McGill Blvd., 404-522-4622, twourbanlicks.com. M

Joey D’s Oakroom near Perimeter mall, this stylish steak house has a staggering selection of spirits and a hot after-dinner singles scene. 1015 Crown Pointe Pkwy., 770-512-7063, centraarchy.com. PNew York Prime A Prime time top 10 USDA Prime Steakhouse known for its wine list, atmosphere and world class service. 3424 Peachtree Rd. NE, 404-846-0644, centraarchy.com. B

looking for a great night out? try one of these local restaurants before or after the show. For Dinner and a Show packages, visit encoreatlanta.com/offers.Neighborhood codes: A–Alpharetta, B–Buckhead, DK-Dekalb, D–Downtown, DW-Dunwoody, IP–Inman Park, M —Midtown, OFW–Old Fourth Ward, P–Perimeter Mall area, SS–Sandy Springs, VH–Virginia-Highland, NA —North Atlanta, V—Vinings, W–Westside

AMERICAN

South City Kitchen

AMERICAN/STEAkhOUSE

VALID THROUGH FEBRUARY 2012

Moderation shmoderation.

Just blocks from the Fox Theatre at 40 7th Street NESun.-Thurs. 5:30-10pm | Fri.-Sat. 5:30-11pm | Bar open daily at 4pm

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PRESENT YOUR TICKET STUB FOR 10% OFF YOUR MEAL!

Prime Enjoy steak, sushi and seafood in a festive atmosphere near lenox mall. 3393 Peachtree Rd. NE, 404-812-0555, h2sr.com. BRay’s in the City Set in the heart of Downtown, ray’s in the city offers a selection of the freshest seafood flown in daily, hand-cut steaks and made-to-order sushi. 240 Peachtree Street, NW, 404-524-9224, raysrestaurants.com. DRay’s on the River has been an Atlanta dining destination for more than 27 years! Enjoy signature cuisine including fresh seafood and prime cut steaks. Sunday Brunch offers over 80 homemade items and a new Bloody mary bar. 6700 Powers Ferry Rd., 770-955-1187, raysrestaurants.com. SSRay’s at killer Creek provides an unforgettable dining experience in an upscale, yet relaxed atmosphere. Sunday Supper features gourmet comfort food including a choice of three entrees served with bottomless sides, biscuits and cornbread. 1700 Mansell Rd., 770-649-0064, raysrestaurants.com. ARuth’s Chris Steakhouse A favorite local steak house with multiple locations near shopping and entertainment hotspots. Sides are generous, and the quality of the steaks and seafood is excellent.

Three locations: Buckhead, 3285 Peachtree Rd. NE, 404-365-0660; Sandy Springs, 5788 Roswell Rd., 404-255-0035; Centennial Olympic Park, 267 Marietta St., 404-223-6500; ruthschris.com. B, SS, DThe Tavern at Phipps this is one of Atlanta’s hottest after-work spots, and has been singled out for its happy hour and singles scene by Jezebel, InSite magazine and the Aol city Guide. 3500 Peachtree Rd. NW, 404-814-9640, centraarchy.com. B

South City kitchen With a stylish, Southern-contemporary menu, this DironA restaurant helped make grits hip for the business crowd. Two locatons: Midtown: 1144 Crescent Ave., 404-873-7358; Vinings: 1675 Cumberland Pkwy., 770-435-0700, southcitykitchen.com. M, VTerrace celebrates American heirloom recipes through supporting local and regional farmers, fisherman and producers. It recaptures pure flavors and tastes of natural and organic ingredients while bursting with delicious flavors. 176 Peachtree St. NW, 678-651-2770, ellishotel.com/terrace. D

AMERICAN/SOUThERN

Aja Restaurant & Bar Serving modern Asian cuisine, Aja has a 150-seat patio overlooking Buckhead and a huge lounge, where diners nosh on dim sum and sip mai tais. 3500 Lenox Rd., Ste. 100, 404-231-0001, h2sr.com. BSpice Market Inspired by the street life of Southeast Asia, Spice Market enchants with complex blends of seasonings and layers of flavor that ignite the taste buds served in a relaxed, alluring environment at W Atlanta — Midtown. 188 14th St. NE, 404-724-2550, spicemarketatlanta.com. M

Drink Shop features cocktails in artistic divination, blessed with pure and homemade ingredients, complete with a visible fruit juicing and vegetable extraction station. Unique, freshy made mixers and a spirit selection of colorful, independent labels! 45 Ivan Allen Junior Blvrd., 404-582-5800, watlantadowntown.com/drinkshop. DGordon Biersch Fresh-brewed beers are a tasty accent to this brewery-restaurant’s hearty pizzas, salads and sandwiches. For a small additional fee, pre-show diners can leave cars in the lot while they’re at the Fox. Two locations:

Midtown: 848 Peachtree St. NE, 404-870-0805; Buckhead: 3242 Peachtree Rd. NE, 404-264-0253, gordonbiersch.com. M, BTap A gastropub offering easy-to-share pub fare and an extensive beer selection. the patio is a great place to chill after work. 1180 Peachtree St., 404-347-2220, tapat1180.com. M

Parish new orleans-inspired dishes served with a modern twist and a fully stocked raw bar; a nawlins-inspired brunch is served on the weekends. Downstairs, a take-away market sells sandwiches, spices, pastries and beverages. 240 N. Highland Ave., 404-681-4434, parishatl.com.

Ecco Esquire magazine named this casual, European-influenced bistro a “Best new restaurant in America.” It’s also gotten raves for its killer wine list, wood-fired pizzas, and impressive meat and cheese menus. 40 Seventh St. NE, 404-347-9555, ecco-atlanta.com. M

Shout A young crowd keeps Shout’s rooftop lounge hopping every night. the menu reflects

404. 377.9948www.AtlantaLyricTheatre.com

117 N Park Sq. NE • Marietta, GA

April 20 – May 6, 2012

Music and Lyrics by Adam Guettel; Book by Craig Lucas — Atlanta Lyric Theatre proudly presents the Atlanta premiere of the lush romantic musical The Light

in the Piazza. Winner of 6 Tony Awards, this soaring musical,composed by the grandson of Richard Rodgers, whisks its audience away to Italy for a

captivating tale, which celebrates the beauty and passions of the human heart. It’s the summer of 1953, and Margaret Johnson, the wife of a North Carolina businessman, is touring the Tuscan countryside with her daughter Clara. In

their travels, Clara meets and falls for a young Florentine boy, who is ardent in his pursuit of her. As the young couple’s love blossoms, Margaret is faced with a difficult choice: should she reveal a truth that could destroy her daughter’s

happiness; or say nothing and let fate run its course?

ASIAN FUSION

BREw PUB/GOURMET PUB FARE

CREOLE/CAJUN

EUROPEAN FUSION

MEDITERRANEAN/LATIN/ASIAN FUSION

a mix of mediterranean, Far Eastern and South American influences. 1197 Peachtree St. NE, 404-846-2000, h2sr.com. M

La Tavola Serving classic Italian cuisine for lunch and dinner in the heart of Virginia-Highland. 992 Virginia Ave., 404-873-5430, latavolatrattoria.com. VH

Cantina Tequila & Tapas Bar is located in the terminus building on the corner of Peachtree and Piedmont roads. It features authentic mexican cuisine and has become Buckhead’s newest watering hole. 3280 Peachtree Rd. NW, Terminus 100, Ste. 150, 404-892-9292, h2sr.com. BEl Taco An eco-friendly watering hole serving fresh mexican food made with all-natural meats and killer margaritas. 1186 N. Highland Ave.NE, 404-873-4656, eltaco-atlanta.com.VH

Noche A Virginia-Highland favorite known for its Spanish-style tapas dishes and margaritas. 1000 Virginia Ave., 404-815-9155, h2sr.com. VH

Coast Seafood and Raw Bar serves Atlanta’s freshest seafood and island cocktails. the menu incorporates classics including crab and corn hush puppies, a signature seafood boil, and a variety of raw or steamed oysters, clams and mussels; along with signature fresh catch entrees. 111 W. Paces Ferry Rd. NW, 404-869-0777, h2sr.com. B

Goldfish this fun seafood/sushi restaurant has Happy Hour specials mon-Fri and nightly entertainment in its lounge. 4400 Ashford Dunwoody Rd., 770-671-0100, h2sr.com. PRoom this elegant restaurant serves steak and sushi on the ground floor of the tWElVE centennial Park hotel. 400 W. Peachtree St., 404-418-1250, roomattwelve.com. DStrip this sophisticated steak, seafood and sushi restaurant offers an in-house DJ and a rooftop deck. Atlantic Station at 18th St., 404-385-2005, h2sr.com. MTwist this lively restaurant has a huge bar, satay station, tapas menu, sushi and seafood dishes; patio seating is first-come, first-served. 3500 Peachtree Rd. NW, 404-869-1191, h2sr.com. B

STEAk/SUShI

SEAFOOD/SUShI

ITALIAN

MEXICAN

SPANISh

Our Professional EnsembleBruce V. Benator, CPA, Managing Partner

Kevin J. Hedrick, CPA, PartnerSteven G. Horn, CPA, PartnerLaura E. Speir, CPA, Partner

Patricia A. Yeager, CPA, Partner

NO rehearsalsONLY performances

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The theatre lighting was designed to enhance the overall ambience of the architecture; it was not merely for the sake of illumination.

Original blueprints for the Fox specify bulb wattage for each fixture.

The Sterling Bronze Company was responsible for providing most of the original lighting still seen in the theatre’s interior today.

Many of the light fixtures you see in the theatre were handcrafted and hand-painted in 1929.

The auditorium’s ultramarine blue sky contains 96 twinkling stars that are 11-watt bulbs fixed above four-inch crystals that form actual constellations as they would be seen from the North African sky; the drifting clouds are produced by a special projector.

The jeweled proscenium lanterns hanging over the stage are reproductions of the chandeliers hanging in the St. Louis Fox Theatre.

fox fun facts: histoRic LiGhtinG fixtuRes

Atlanta’s Fox Theatre lighting was a crowning achievement in its day. The light bulb was still relatively new and modern, yet the Fox’s fixtures were created to give the illusion of antiquity, foreign mystique and opulence. Some fun Fox lighting facts:

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The company’s visits have become a post-holiday ritual in Atlanta as, over the years, dancers like Boyd and Mack continue to impress audiences of all ages. This year’s engagement, the first under new artistic director Robert Battle, comprises premieres, new productions and new directions. “This is the beginning of a new adventure — for the company, for me and for our audiences in Atlanta,” he says.

The dancers always look forward to visiting Atlanta, calling it a home away from home, says Mack, who danced with Ailey from 2005 to 2008 and returned in 2011. Boyd says they know where all the restaurants are and always have a good time here.

At home in New York, Ailey dancers do their work and go their separate ways. On the road it’s different, Mack says. They eat, travel and stay together.

Boyd and Mack want you to know two things about Ailey dancers: They are normal and they are amazing. Onstage the dancers are larger than life; offstage, says Mack, they are down to earth. They’re amazing because they dance

pretty much all day long — rehearsing, taking class and performing onstage, often beginning as early as 1 p.m.

The work ethic of dancers is extensive, as their schedule proves. It’s often augmented by a favorite workout. Boyd, for example, likes to go to the gym, is always stretching and always taking class.

He calls the repertory “very man-heavy” in its physical demands. “You definitely have to be a strong dancer, a

strong person, a strong artist to be an Ailey man.”

That strength was called upon often in 2011, as Battle succeeded longtime artistic director Judith Jamison and nine

new dancers were hired. Mack, who knows Battle through work with his Battleworks Dance Company, called the transition seamless.

“The integrity of the work is still the same,” the new artistic director says of the Ailey way. “You always know what’s expected of you as a dancer.”

So while much has changed, much is the same. This Ailey tour carries with it the legacy that began in that New York Y so many years ago.

Danielle Deadwyler is an Atlanta-based writer, actor and mother to a dancing machine. Read more of her stories at tinyurl.com/atldanielle.

Continued from page 14

“You definitely have to be a strong dancer, a strong person, a strong artist to be an Ailey man.”Kirven Boyd and

Rachael McLaren


Robert Battle, the third artistic director in Alvin Ailey American

Dance Theater’s storied history, has been with the company since he was 12. Not literally, of course, but he was destined to connect with the company.

Battle was a 12-year-old in Miami, when, he says, he was bused to a “mini-performance” of Ailey’s signature piece, “Revelations.” It was a culminating moment that crystallized for him the poetry, music and activism he was learning from his mother, a choir pianist, and activist in her own right.

His real start with Ailey came in 2003, through an invitation to choreograph for Ailey II, the junior company. He’s been a disciple ever since.

Assuming the top artistic job has been “wonderful, cathartic ... constantly

surprising ... a healthy mixture of fear and confidence,” says the Juilliard-trained Battle. “I feel I had a calling to lead, [a] passion.”

His new life is multifaceted — and not just with a global menu of dance styles, foot positions and new dancers. He’ s also involved in fundraising, board meetings, talking to reporters and nurturing dancers as well as imagining new things for upcoming seasons.

Like predecessor Judith Jamison, he wants to do good for Ailey as long as he can, and that doesn’t include getting back onstage. He stopped dancing in 2001 but is fulfilled through his dancers. “Watching them onstage is just enough,” he says.

Although he’s now a seasoned professional, Battle is back to watching Ailey the way he did as a boy, hoping to translate that sort of innocence to his art. After all, the innocence is what made that first indelible impression on him, and the sort of magic he wants to cultivate for the Ailey legacy. A

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‘I feel I had a calling to lead’By Danielle DeaDwyler

THE FOLLOWING ADVERTISEMENT HAS BEEN APPROVED FOR THE

ATLANTA JEWISH FILM FESTIVAL AN AMERICAN JEWISH COMMITTEE PRODUCTION

RETURNING TO THEATERS

FEBRUARY 8-29, 2012WWW.AJFF.ORG

THIS FESTIVAL HAS BEEN RATED

OY VEYEMOTIONAL RESPONSES LIKELY

OV

Schwartz Center for Performing Arts

Photo by Gary Heery

Kronos Quartet

and

Alim Qasimov

Ensemble

Friday, February 17, 8 p.m.

Christopher

O’Riley, piano

Friday, March 2, 8 p.m.

TICKETS ON SALE NOW! arts.emory.edu404.727.5050M

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Whether you’re a devoted fan or a hipster in search of a kitschy holy grail, Graceland — one of Memphis’ most popular tourist attractions — delivers a hunka hunka burning surprises.

The first is that it’s not surrounded by the winding streams and oak-lined pathways you’d expect from a rock ’n’ roll Tara. It’s down a side street, between a couple of strip malls. And it’s kind of

hard to find. Here’s a hint: If you get to the blue barbecue restaurant with “TLC I *heart* Elvis” on its chimney, you’ve gone too far south.

Once you’ve found the proper turnoff to the parking lot and visitors’ center, you may be amazed by the number of activities Graceland offers. According to Foursquare app users, the best ticket is the Graceland Platinum Tour ($36

the glorious (and slightly gaudy) side of memphisBy Kristi Casey sanders

love him or hate him, it’s hard to think of memphis without Elvis Presley, its most famous son. to his credit, Elvis never felt he

outgrew his hometown, even after becoming one of the biggest stars in the world. his family home, Graceland, which is on the national register of historic Places, gives visitors an interesting glimpse behind the black velvet curtain of his celebrity.

Atlanta’s Performing Arts Publication

404.459.4128encoreatlanta.com

More than a program, it’s your ticket to the arts.

Call 1-866-851-7239 for the Fox Theatre rateor visit http://tinyurl.com/FoxRate

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for adults; $32.40 for senior citizens and students; $17 for ages 7-12), which gives access to the mansion, Elvis’ airplanes and his car collection, among other attractions. If you check in on Foursquare, you’ll also unlock a special souvenir gift (we got a poster of young Elvis that’s pretty sweet).

Go see the customized airplanes first if you want an apt metaphor for Elvis’ meteoric rise to fame. Only two people at a time are allowed to view his first custom jet because it’s so cramped. In contrast, the tricked-out Lisa Marie II is like a flying tour bus, with gold-plated sinks, toilets and seat belts, a boardroom, several bedrooms, even a bar (though Elvis drank soft rather than hard drinks).

You need to take a shuttle to see the house museum, and they’ll hand you an audio tour as you board. It’s a great soundtrack to the Elvis experience, but you can’t take it with you. Signs posted insist the audio tours will only work on the property.

You’d think that Graceland would be a sprawling monument to excess, but it’s surprisingly modest — at least from the outside. Inside, it’s obvious that the house is exactly as Elvis left it. It hasn’t been scrubbed and sanitized. It’s a living time capsule that’s firmly rooted in the early 1970s.

Elvis purchased the small ranch-style home as a young man. As he found success, he built a second floor, expansions to the main house and outbuildings. The tour only encompasses the areas guests saw on a

regular basis, respecting Elvis’ rule that only family got to see the second floor while he was alive. Everyone else had to wait in the foyer for Elvis to descend from his blue velvet lair, something daughter Lisa Marie (who narrates much of the audio tour) says was an awesome sight.


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Elvis’ interior design aesthetic is a mix of the practical (the best hangout space is next to the kitchen) with the slightly weird (big-eyed monkey dolls and clown statues) to the downright bizarre (shag carpet on the ceilings so that he could sing or record anywhere and not get echoes).

A good Southern boy, Elvis never forgot his mother, for whom he decorated a bedroom and bathroom in girly frills and poodle wallpaper. He loved hanging with his boys in the “Jungle Room” (monkeys, fake fur tiger seats and a waterfall just off the kitchen) and downstairs pool room, which looks like a bordello with its heavy tapestry-draped walls and ceiling. And he liked keeping on top of current events. His blue-and-gold TV room has three television sets side-by-side on one wall (because he heard the president watched broadcast news that way). It also features his record collection and personal logo/motto “TCB” (Taking Care of Business) painted alongside a lightening bolt on the wall. By the way, TCB pops up everywhere — on his microphones, jumpsuits and airplanes — and if you

really like it, pick up your own branded apparel or trinket at one of Graceland’s numerous, themed gift shops.

Common areas, like Elvis’ racquetball court and office, have been converted into museums of film and music artifacts, jumpsuits, gold records and television interviews. Also on display

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is some truly kitschy fan art and letters from people still mourning his death.

And then there’s the land. Acres of land that he raised horses on. And a pool area connected to a meditation garden where Elvis, his mother and father are buried, surrounded by flowers and gifts from individual fans and Elvis fan clubs from around the world.

After hearing funny anecdotes about Elvis on the audio tour — like how he and his friends used to race golf carts and lawn mowers in the backyard and often took their low-fi drag races to the street — you’ll probably wonder where those items are.

Head back to the main Graceland strip and the Elvis Car Museum to check out his souped-up mini-machines, automobiles and massive tractor. It’s telling that one of his earliest cars was a pink convertible Cadillac. Clearly, Elvis was no wallflower, but it must have taken some guts for a manly man to choose a pink car in the 1950s. Subsequent cars — a purple Caddy, a pink golf cart with a fringed roof and a Batmobile-looking

’70s sedan originally commissioned by Frank Sinatra — are an interesting testament to his peacock-like obsession with appearance and accouterments.

There are several other mini-museums, all attached to gift shops, that fans can meander through as well as restaurants. But to do so would take all day. You can see the house museum, the airplanes and cars in less than two hours.

Graceland is a few miles from Memphis International Airport, so the next time you are in town or have a long layover, swing by. It’s a fun — and slightly freaky — memorial to the King of Rock ‘n’ Roll. Details: elvis.com/graceland/. kr

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February 2012 Alvin Ailey American Dance Theater at the Fox Theatre

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