February 2015: Alvin Ailey American Dance Theater at the Fox

F OX T H E AT R E . O R G | E N C O R E AT L A N TA . C O M

THE FOX THEATRE | FEBRUARY 2015

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CONTENTFEBRUARY 2015

FEATURES8

8 Married ... With TightsProminent, partnered Ailey dancers say their intimacy creates a beautiful partnership. By Julie Bookman

52 Fairways to HeavenNature’s the saving grace of Georgia’s best public golf courses. By A. Scott Walton

56 Chucktown ‘Chow Down’Food + Wine Fest isn’t the only reason to bite into the joys, culinary and otherwise, of Charleston. By A. Scott Walton

15 Alvin Ailey Program

47 Friends of the Fox

48 Information

50 Etiquette / Fox Staff

58 Fox Fun Facts60 Posh Dealz

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Wifredo Lam: Imagining New Worlds is organized by the McMullen Museum of Art, Boston College and curated by Elizabeth T. Goizueta. Imagining New Worlds: José Parlá and Fahamu Pecou is organized by the High Museum of Art. Additional support provided by Sandra and DanBaldwin, Jiong Yan and Baxter Jones, Elizabeth and Chris Willett, and Morgens West Foundation. Images: Wifredo Lam, Le Sombre Malembo,Dieu du carrefour, 1943, collection of Isaac and Betty Rudman. © 2014 Artists Rights Society (ARS), NY/ADAGP, Paris. Photo by Rey Parlá. 2014© Parlá Studios, LLC. Wifredo Lam photograph by Man Ray. © 2014 Man Ray Trust/Artists Rights Society (ARS), NY/ADAGP, Paris

ALSO ON VIEWIMAGINING NEW WORLDS:<< José Parlá &Fahamu PecouInspired by the legacyof Wifredo Lam,contemporary artistsJosé Parlá and Fahamu Pecou reimagine history and envision new beginnings.

Rarely seen works by one of Surrealism’s most influential artistsMore than 40 works by internationally renowned Cuban-born artist Wifredo Lamtogether for the first time. Opens February 14. Get tickets today at high.org.

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Prominent, partnered Ailey dancers say their intimacy creates a beautiful partnership By Julie Bookman Photos by Andrew Eccles

With TightsMarried …

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Glenn and Linda Sims had mutual friends in New York but didn’t

know each other until he joined Alvin Ailey American Dance Theater. That was 17 years ago, about 12 months into her tenure. On the first day he took class with Ailey colleagues, he asked her out.

“I singled her out,” says Glenn Allen Sims, when asked how he and fellow dancer Linda Celeste got together.

“I thought she was a cute girl with great legs. Coming from New Jersey, you tended to date heavier-set females, and Linda had this great body and great legs—very muscular. And from all her pointe work, she had these voluptuous, awesome calves.”

“Glenn’s a leg man,” confirms Linda (pro-nounced LEEN-da).

“After class I basically chased her up West 61st Street.”

“He did,” Linda recalls. “He chased me up the street and walked me to the train.”

But they didn’t get together just then.They became close while touring. A night

of salsa dancing in Germany clinched it. “I realized that I was really starting to like him,” Linda says.

They married three years later, on Jan. 5, 2001, not coincidentally the birthday of Alvin Ailey (1931-89), who founded the dance com-pany in 1958.

In keeping with a winter tradition in Atlan-ta, Alvin Ailey returns to the Fox Theatre with three programs this month. No matter which you see, you’ll catch Glenn and Linda Sims in showcase moments. They’ve performed in more than half the company’s 250 works, including the pas de deux “Fix Me, Jesus” in the famous gospel ballet Revelations, more than 2,000 times – and claim to never tire of it.

Artistic director Robert Battle calls Glenn “a strong Ailey man in the best sense.” There’s a certain way about his dancing, his “ground-edness, his warmth as a performer and his expressiveness, that’s earthy but also ethereal,” says Battle.

With Tights

Every time they dance “Polish Piece,” Glenn says it feels new.

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Linda, says Battle, is “equally spectacular. As an audience member watching her, I re-member thinking that she could do anything. When she steps onto the stage you just feel completely secure.” From the most classical ballet work to hip-hop or Afro-Caribbean movement, “whatever you give Linda she is going to tackle it, be effervescent, and go above and beyond expectations.”

On this trip Ailey brings 10 pieces to Atlanta, including the much-anticipated “Odetta,” choreographed by powerhouse Ailey dancer Matthew Rushing, now a guest artist.

The 40-minute work pays tribute to Odetta Holmes, the singer-songwriter-ac-tivist who was a prominent voice of the civil rights movement.

Program high points for Linda, 38, include the majestic “Suspended Wom-en” by Jacqulyn Buglisi, a

master teacher and former Martha Graham dancer. The piece illuminates the challenges of women through the ages. Linda calls it “quiet at times, mesmerizing, powerful.”

Glenn, 39, enjoys “Uprising” because there’s room for improv and he enjoys the creative challenge. It’s a high-intensity piece for seven men, “so a whole lot of testosterone. We get to smack and punch each other.”

The couple will perform a duet within Polish Pieces, in which the man frequently faces away from the audience. So, Glenn says, “I have to translate and emote with my back.

“Whatever you give Linda she is going to tackle it, be effervescent, and go above and beyond expectations.”

What began as an instant attraction has translated to a 14-year marriage and sucessful artistic pairing.

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The woman is trying to get the man’s attention and doing subtle things to see if I can respond to her.”

Whenever she has the chance to be a powerful woman up against a man, Linda says she’s having a good time. “It’s kind of like playing house. I get to portray that I am the powerful one and he is subdued. I can have fun with that.”

Glenn has been paired with others for Polish Pieces but says it feels new every time he gets to dance it with his wife. “It highlights our intimacy.”

“If I had my way, I would only dance with Linda,” he says. “The partnership comes so much more naturally because we are so close. She makes the most gorgeous line and I just love to frame her. In classical partnering, they always say the woman is the picture and the man is the frame.”

Together, perhaps, they’re a portrait for the ages.

No matter which show you catch at the Fox, you’ll see this pair dancing together. “If I had my way, I would only dance with Linda,” Glenn says of his wife.

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Alvin Ailey, FounderJudith Jamison, Artistic Director Emerita

Bennett Rink, Executive Director

Major funding is provided by the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs,

American Express, Atlanta-Journal Constitution, BET Networks, Bloomberg, BNY Mellon, Diageo, FedEx Corporation, Ford Foundation, The Howard Gilman Foundation,

The Hearst Foundations, Prudential Financial, Inc., The Shubert Foundation, Southern Company, Target, and Wells Fargo.

Local Support Provided By

Robert Battle, Artistic DirectorMasazumi Chaya, Associate Artistic Director

Matthew Rushing, Rehearsal Director and Guest Artist

Hope BoykinJeroboam BozemanSean Aaron Carmon

Elisa ClarkSarah Daley

Ghrai DeVoreAntonio Douthit-BoydKirven Douthit-Boyd

Samantha FigginsVernard J. GilmoreJacqueline Green

Daniel HarderJacquelin HarrisCollin Heyward

Demetia Hopkins GreeneMichael Jackson, Jr.

Megan JakelYannick Lebrun

Alicia Graf MackRenaldo Maurice

Michael Francis McBrideRachael McLaren

Akua Noni ParkerDanica PaulosBelen PereyraJamar Roberts

Samuel Lee RobertsKanji Segawa

Glenn Allen SimsLinda Celeste Sims

Jermaine TerryFana Tesfagiorgis

Marcus Jarrell Willis

COMPANY MEMBERS


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WEDNESDAY, FEBURARY 11, 2015, at 8:00pm and

FRIDAY, FEBURARY 13, 2015, at 8:00pm

NIGHT CREATURE (1974)

Choreography by Alvin AileyRestaging by Masazumi Chaya

Music by Duke EllingtonCostumes by Jane Greenwood; Costumes recreated by Barbara Forbes

Lighting by Chenault Spence

“Night creatures, unlike stars, do not come OUT at night – they come ON, each thinking that before the night is out he or she will be the star.”

— Duke Ellington

WEDNESDAY, FEBURARY 11, 2015, at 8:00pm

Movement 1Hope Boykin, Kirven Douthit-Boyd & The Company

Movement 2Hope Boykin, Antonio Douthit-Boyd,

Elisa Clark, Samantha Figgins, Danica Paulos, Fana Tesfagiorgis, Jacquelin Harris, Belen Pereyra, Michael Francis McBride, Kanji Segawa,

Collin Heyward, Daniel Harder, Renaldo Maurice, Jeroboam Bozeman

Movement 3Hope Boykin, Kirven Douthit-Boyd & The Company


Movement 1Linda Celeste Sims, Vernard J. Gilmore & The Company

Movement 2Linda Celeste Sims, Glenn Allen Sims,

Elisa Clark, Samantha Figgins, Danica Paulos, Fana Tesfagiorgis, Jacquelin Harris, Belen Pereyra, Michael Francis McBride, Kanji Segawa,

Collin Heyward, Daniel Harder, Renaldo Maurice, Jeroboam Bozeman

Movement 3Linda Celeste Sims, Vernard J. Gilmore & The Company

This production was made possible, in part, by a grant from the Ford Foundation and with public funds from the National Endowment for the Arts.

Fabric dyeing of costumes by Elissa Tatigikis Iberti.Night Creature used by arrangement with G. Schirmer, Inc., publisher and copyright owner.

- PAUSE -

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PROGRAM NOTES

FEB 7– APRIL 12

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AFTER THE RAIN PAS DE DEUX(2005, Ailey premiere 2014)

Choreography by Christopher WheeldonMusic by Arvo Pärt

Costumes by Holly Hynes Lighting by Mark Stanley

Restaging by Jason Fowler

WEDNESDAY, FEBURARY 11, 2015, at 8:00pm Linda Celeste Sims, Glenn Allen Sims

FRIDAY, FEBURARY 13, 2015, at 8:00pmAkua Noni Parker, Jamar Roberts

The Company premiere of After the Rain Pas De Deux is made possiblewith leadership support from the Elaine P. Wynn & Family Foundation.

Generous support has been provided by The Jaharis Family Foundation, and Judith McDonough Kaminski and Joseph Kaminski.

“Spiegel Im Spiegel” (1978) by Arvo Pärt. Used by arrangement with European American Music Distributors Company, U.S. agent for Universal Edition Vienna, publisher and copyright owner.

- INTERMISSION -

Akua Noni Parker and Jamar Roberts in Christopher Wheeldon’s After the Rain Pas De Deux. Photo by Paul Kolnik

PROGRAM NOTES

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SUSPENDED WOMEN (2000, Ailey premiere 2014)

Choreography by Jacqulyn BuglisiMusic by Maurice Ravel

Music interpolations composed and performed by Daniel Bernard Roumain (DBR)Costumes by A. Christina Giannini

Lighting by Clifton TaylorRehearsal Director: Helen Hansen French

“This work takes inspiration from the life and writing of Sor Juana Inés de la Cruz and is dedicated to all women since the beginning of time ‘suspended,’ and to my mother Elaine.”

— Jacqulyn Buglisi

Linda Celeste Sims, Rachael McLaren, Megan Jakel, Belen Pereyra,Hope Boykin, Sarah Daley, Jacqueline Green, Elisa Clark, Jacquelin Harris,

Akua Noni Parker, Demetia Hopkins Greene, Ghrai DeVore, Samantha Figgins, Danica Paulos, Fana Tesfagiorgis,

Glenn Allen Sims, Jamar Roberts, Antonio Douthit-Boyd, Samuel Lee Roberts

Suspended Women was created for Buglisi Dance Theatre with funding from Jody and John Arnhold, Diana de Vegh, Caroline Howard Hyman and Edward S. Hyman, Jr., Susan and Marvin Numeroff,

the New York State Council on the Arts, and The Harkness Foundation for Dance.

Support for this new production has been provided by Denise R. Sobel, The Ellen Jewett & Richard L. Kauffman New Works Endowment Fund,

Mark & Brenda Moore Family Foundation, and Tracy Elise Poole.

Piano Concerto in G major, Movement II Adagio Assai composed by Maurice Ravel. By arrangement with Boosey & Hawkes, Inc., Sole Agent in the United States, Canada and Mexico for Durand S.A. Editions Musicales, a Universal Music Publishing Group company, publisher and copyright owner.

- PAUSE -

TAKADEME(1999, Ailey premiere 2011)

Choreography by Robert BattleMusic by Sheila Chandra

Costume by Missoni Costume recreated by Jon Taylor

Lighting by Burke Wilmore

WEDNESDAY, FEBURARY 11, 2015, at 8:00pm Kirven Douthit-Boyd

FRIDAY, FEBURARY 13, 2015, at 8:00pmYannick Lebrun

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.

- INTERMISSION -


PROGRAM NOTES


WEDNESDAY, FEBURARY 11, 2015, at 8:00pm

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 Music arranged by Hall Johnson*

Didn’t My Lord Deliver Daniel Music arranged by James Miller+

Fix Me, Jesus Music arranged by Hall Johnson*

TAKE ME TO THE WATERProcessional/Honor, Honor Music adapted and arranged by Howard A. Roberts

Wade in the Water 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 Music arranged by James Miller+

MOVE, MEMBERS, MOVESinner Man Music adapted and arranged by Howard A. Roberts

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

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

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

* 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 gift from Donald L. Jonas in celebration of the birthday of his wife Barbara

and her deep commitment to Alvin Ailey American Dance Theater.

The Company

Marcus Jarrell Willis, Hope Boykin, Sarah Daley

Akua Noni Parker, Jamar Roberts

Kanji Segawa, Megan Jakel,Collin Heyward, Michael Jackson, Jr.

Linda Celeste Sims, Glenn Allen Sims, Jacqueline Green

Vernard J. Gilmore

Samuel Lee Roberts, Yannick Lebrun, Daniel Harder

The Company

The Company

The Company

PROGRAM NOTES

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REVELATIONS (1960)














^ Guest Arist




The Company

Daniel Harder, Elisa Clark, Danica Paulos

Akua Noni Parker, Jamar Roberts

Kanji Segawa, Jacquelin Harris,Jeroboam Bozeman, Sean Aaron Carmon

Belen Pereyra, Vernard J. Gilmore, Fana Tesfagiorgis

Matthew Rushing^

Jeroboam Bozeman, Collin Heyward, Sean Aaron Carmon

The Company

The Company

The Company

PROGRAM NOTES

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THURSDAY, FEBURARY 12, 2015, at 8:00pmand

SATURDAY, FEBURARY 14, 2015, at 8:00pm

BAD BLOOD(1984, Ailey premiere 1986)

Choreography by Ulysses DoveApproved by The Estate of Ulysses Dove

Restaging by Masazumi ChayaMusic by Laurie Anderson and Peter Gabriel

Costume and Scenic design by Carol Vollet GarnerLighting by Beverly Emmons

THURSDAY, FEBURARY 12, 2014, at 8:00pmKirven Douthit-Boyd, Linda Celeste Sims, Jamar Roberts,

Samantha Figgins, Antonio Douthit-Boyd, Jacquelin Harris, Michael Francis McBride

SATURDAY, FEBURARY 14, 2014, at 8:00pmAntonio Douthit-Boyd, Rachael McLaren, Yannick Lebrun,

Ghrai DeVore, Collin Heyward, Belen Pereyra, Samuel Lee Roberts

Bad Blood was created for Les Ballets Jazz de Jazz de Montréaland was given its world premiere in October 1984 at Place des Arts.

Commissioning funds for the original Ailey production of Bad Blood were provided by the Reader’s Digest Dance and Theatre Program, and with public funds from the National Endowment for the Arts

and the New York State Council on the Arts.

“Excellent Birds” performed by Laurie Anderson and Peter Gabriel. Lyrics and music by Laurie Anderson and Peter Gabriel © 1984 Difficult Music (BMI) and Cliofine Ltd. (PRS). “Gravity’s Angel” performed by Laurie Anderson and Peter Gabriel. Lyrics and music by Laurie Anderson © 1982 Difficult Music (BMI). “Walking and Falling” performed by Laurie Anderson. Lyrics and music by Laurie Anderson © 1984 Difficult Music (BMI).

- INTERMISSION -

Alvin Ailey American Dance Theater in Ulysses Dove's Bad Blood. Photo by Steve Wilson

PROGRAM NOTES


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THURSDAY, FEBURARY 12, 2014, at 8:00pm

ODETTA(2014)

Choreography by Matthew RushingAssistants to the Choreographer: Renee Robinson and Michael Jackson, Jr.

Music by Various Artists; Performed by OdettaSound design by Russell J. Cowans IV

This Little Light of MineOx Driver SongJohn HenryThere’s A Hole In The Bucket

Motherless ChildrenSometimes I Feel Like a Motherless ChildCool WaterMasters of WarGlory, Glory

Freedom Trilogy

The creation of ODETTA is supported by commissioning funds from New York City Center.

Major support for this world premiere is provided by American Express.

Generous support has been provided by Roberta Campbell & Richard Gray, Melinda & Paul Pressler, Daria L. & Eric J. Wallach,

and the Pamela D. Zilly & John H. Schaefer New Works Endowment Fund.

Additional support has been provided by The Jeanne Greenberg Rohatyn & Nicolas Rohatyn New Works Endowment Fund and

The Kansas City Friends of Alvin Ailey – Sara and Bill Morgan New Works Endowment Fund.

Quote from Marianne Williamson’s book A Return To Love, read by Odetta F. Gordon. * “This Little Light of Mine.” *“Prettiest Train.” “Last Word: Odetta.” ^ “Ox Driver Song.” “John Henry.” Audio clip of Odetta interviewed by Camille Cosby; audio interview from archival materials courtesy of The National Visionary Leadership Project; www.visionaryproject.org. “There’s a Hole In The Bucket” by Harry Belafonte and Odetta Felious Gordon. Published by Clara Music Publishing Corp. (ASCAP) Clara Music Publishing Corp. Administered by Next Decade Entertainment, Inc. All Rights Reserved. Used by Permission.* “Last Word: Odetta.” ^ “Motherless Children.” * “Sometimes I Feel Like a Motherless Child.” * “Last Word: Odetta.” ^ “Cool Water” by Bob Nolan. “Masters of War” by Bob Dylan. “Glory, Glory.” * “Freedom Trilogy,” musical arrangement by Ysaye M. Barnwell and Seth Farber; vocal performance by Ysaye M. Barnwell and piano performance by Seth Farber.*

* Words and Music by Odetta F. Gordon. Pookie Tree Publishing Co. (ASCAP). Odetta's name, voice, likeness, and biographical information provided courtesy of the Estate of Odetta, www.odettamusic.com^ Audio from “Last Word: Odetta” interview. Audio provided by T3Media from the interview: “Last Word: Odetta.”

- INTERMISSION -

Hope Boykin & The CompanyBelen Pereyra & The Company

Renaldo Maurice Rachael McLaren, Marcus Jarrell Willis

Hope Boykin & The CompanyKanji Segawa

Sarah Daley, Yannick LebrunMichael Francis McBride, Danica Paulos & The Company

Megan Jakel

Hope Boykin, Sarah Daley, Megan Jakel, Yannick Lebrun, Renaldo Maurice,

Michael Francis McBride, Rachael McLaren, Danica Paulos, Belen Pereyra, Kanji Segawa, Marcus Jarrell Willis

Vocals performed with Harry Belafonte

Vocals performed by Ysaye M. Barnwell

Scenic design by Travis George Original artwork by Stephen AlcornCostumes by Dante Baylor Lighting by Andre Vasquez

PROGRAM NOTES

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ODETTA(2014)

Choreography by Matthew RushingAssistants to the Choreographer: Renee Robinson and Michael Jackson, Jr.

Music by Various Artists; Performed by OdettaSound design by Russell J. Cowans IV

This Little Light of MineOx Driver SongJohn HenryThere’s A Hole In The Bucket

Motherless ChildrenSometimes I Feel Like a Motherless ChildCool WaterMasters of WarGlory, Glory

Freedom Trilogy

The creation of ODETTA is supported by commissioning funds from New York City Center.

Major support for this world premiere is provided by American Express.

Generous support has been provided by Roberta Campbell & Richard Gray, Melinda & Paul Pressler, Daria L. & Eric J. Wallach,

and the Pamela D. Zilly & John H. Schaefer New Works Endowment Fund.

Additional support has been provided by The Jeanne Greenberg Rohatyn & Nicolas Rohatyn New Works Endowment Fund and

The Kansas City Friends of Alvin Ailey – Sara and Bill Morgan New Works Endowment Fund.

Quote from Marianne Williamson’s book A Return To Love, read by Odetta F. Gordon. * “This Little Light of Mine.” * “Prettiest Train.” “Last Word: Odetta.” ^ “Ox Driver Song.” “John Henry.” Audio clip of Odetta interviewed by Camille Cosby; audio interview from archival materials courtesy of The National Visionary Leadership Project; www.visionaryproject.org. “There’s a Hole In The Bucket” by Harry Belafonte and Odetta Felious Gordon. Published by Clara Music Publishing Corp. (ASCAP) Clara Music Publishing Corp. Administered by Next Decade Entertainment, Inc. All Rights Reserved. Used by Permission. * “Last Word: Odetta.” ^ “Motherless Children.” * “Sometimes I Feel Like a Motherless Child.” * “Last Word: Odetta.” ^ “Cool Water” by Bob Nolan. “Masters of War” by Bob Dylan. “Glory, Glory.” * “Freedom Trilogy,” musical arrangement by Ysaye M. Barnwell and Seth Farber; vocal performance by Ysaye M. Barnwell and piano performance by Seth Farber.*

* Words and Music by Odetta F. Gordon. Pookie Tree Publishing Co. (ASCAP). Odetta's name, voice, likeness, and biographical information provided courtesy of the Estate of Odetta, www.odettamusic.com^ Audio from “Last Word: Odetta” interview. Audio provided by T3Media from the interview: “Last Word: Odetta.”

- INTERMISSION -

Demetia Hopkins Greene & The CompanyGhrai DeVore & The Company

Jeroboam Bozeman Jacqueline Green, Sean Aaron Carmon

Demetia Hopkins Greene & The CompanySamuel Lee Roberts

Elisa Clark, Collin HeywardDaniel Harder, Jacquelin Harris & The Company

Fana Tesfagiorgis

Demetia Hopkins Greene, Jeroboam Bozeman, Sean Aaron Carmon, Elisa Clark, Ghrai DeVore,

Jacqueline Green, Daniel Harder, Jacquelin Harris, Collin Heyward, Samuel Lee Roberts, Fana Tesfagiorgis

Vocals performed with Harry Belafonte

Vocals performed by Ysaye M. Barnwell

Scenic design by Travis George Original artwork by Stephen AlcornCostumes by Dante Baylor Lighting by Andre Vasquez

PROGRAM NOTES

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THURSDAY, FEBURARY 12, 2015, at 8:00pm

REVELATIONS (1960)














^ Guest Artist




The Company

Michael Jackson, Jr., Hope Boykin, Demetia Hopkins Greene

Linda Celeste Sims, Glenn Allen Sims

Renaldo Maurice, Megan Jakel,Michael Jackson, Jr., Sean Aaron Carmon

Rachael McLaren, Matthew Rushing^, Jacqueline Green

Antonio Douthit-Boyd

Jamar Roberts, Yannick Lebrun, Kirven Douthit-Boyd

The Company

The Company

The Company

PROGRAM NOTES




REVELATIONS (1960)

















The Company

Collin Heyward, Jacquelin Harris, Danica Paulos

Akua Noni Parker, Glenn Allen Sims

Samuel Lee Roberts, Elisa Clark,Collin Heyward, Sean Aaron Carmon

Rachael McLaren, Vernard J. Gilmore, Demetia Hopkins Greene

Antonio Douthit-Boyd

Michael Jackson, Jr, Daniel Harder, Kanji Segawa

The Company

The Company

The Company

PROGRAM NOTES

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SATURDAY, FEBRUARY 14, 2015, at 2:00 p.m. and

SUNDAY, FEBRUARY 15, 2015, at 3:00 p.m.

POLISH PIECES(1995, Ailey premiere 1996)

Choreography by Hans van ManenRestaging by Mea Venema

Music by Henryk-Mikolaj Górecki Costumes by Keso DekkerLighting by Joop Caboort

SATURDAY, FEBRUARY 14, 2015, at 2:00 p.m. Linda Celeste Sims, Glenn Allen Sims,

Akua Noni Parker, Antonio Douthit-Boyd,Rachael McLaren, Kirven Douthit-Boyd, Demetia Hopkins Greene, Marcus Jarrell Willis,

Fana Tesfagiorgis, Daniel Harder, Elisa Clark, Vernard J. Gilmore

SUNDAY, FEBRUARY 15, 2015, at 3:00 p.m.Jacqueline Green, Yannick Lebrun,

Akua Noni Parker, Antonio Douthit-Boyd,Megan Jakel, Michael Francis McBride, Ghrai DeVore, Samuel Lee Roberts,

Belen Pereyra, Sean Aaron Carmon, Danica Paulos, Renaldo Maurice

This work was made possible, in part, with public fundsfrom the New York State Council on the Arts.

Concerto for piano and string orchestra, Opus 40 and Three Pieces in the old style, for string orchestra by Hemyk-Mikolaj Gorecki. By arrangement with G. Shirmer, sole agent for Polskie Wydawnictwo Muz (ZAIKS), publisher and copyright owner.

Special fabric treatment by Elissa Tatigikis Iberti.

- PAUSE -

Antonio Douthit-Boyd & Akua Noni Parker in Hans van Manen’s Polish Pieces. Photo by Paul Kolnik

PROGRAM NOTES

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AWASSA ASTRIGE/OSTRICH (1932, Ailey premiere 2014)

Choreography by Asadata DaforaAs recreated by Charles Moore

Restaging by Ella Thompson-MooreOriginal music composed by Ron McBee and Carl Riley

Costume by Catti; Costume recreated by Jon TaylorLighting by Craig Miller; Lighting recreated by Al Crawford

Jamar Roberts

Percussion - Ron McBee Flute - Jimmy CruizRecording Produced by Russell J. Cowans IV Recording Engineer - Rachael Wardell Assistant Engineer - Joel Wilhelmi

- INTERMISSION -

GRACE (1999)

Choreography by Ronald K. BrownAssistant to the Choreographer: Arcell Cabuag

Music by Various Artists Costumes by Omatayo Wunmi Olaiya

Lighting by William H. Grant III

SATURDAY, FEBRUARY 14, 2015, at 2:00 p.m. Jacqueline Green,

Akua Noni Parker, Jamar Roberts, Jeroboam Bozeman, Yannick Lebrun, Kanji Segawa,

Marcus Jarrell Willis, Renaldo Maurice, Sarah Daley, Hope Boykin, Fana Tesfagiorgis

SUNDAY, FEBRUARY 15, 2015, at 3:00 p.m.Belen Pereyra,

Akua Noni Parker, Jamar Roberts, Jeroboam Bozeman, Yannick Lebrun, Kanji Segawa,

Marcus Jarrell Willis, Renaldo Maurice, Sarah Daley, Hope Boykin, Fana Tesfagiorgis

Support for this production was provided by Natasha I. Leibel, M.D. & Harlan B. Levine, M.D., and Elizabeth Marsteller Gordon.

The creation of this work was made possible, in part, by AT&T,the John S. and James L. Knight Foundation, and The Harkness Foundation for Dance.

“Come Sunday” by arrangement with G. Schirmer, Inc. publisher and copyright owner. Composed by Duke Ellington. Performed by Jimmy McPhail. “Gabriel” by Roy Davis, Jr. featuring Peven Everett. Umosia Music/P.E. Music Adm. by Groovy Native Music (ASCAP) 1997 Courtesy of Large Music LLC. All Rights Reserved. “Bless It” by Paul Johnson. Recorded at Undaground Therapy Music Studios, Chicago, IL. “Rock Shock” written and produced by Roy Davis, Jr. Published by Roy Davis, Jr. Music ASCAP. Recorded at Undaground Therapy Music Studios Chicago, IL. “Shakara” by Fela (Anikulapo) Kuti. Copyright Shanachie Entertainment Group. “Come Sunday” by arrangement with G. Schirmer, Inc. publisher and copyright owner. Composed by Duke Ellington. Performed by Jennifer Holliday.

- INTERMISSION -

PROGRAM NOTES


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SATURDAY, FEBRUARY 14, 2015, at 2:00 p.m.

REVELATIONS (1960)

















The Company

Michael Francis McBride, Elisa Clark, Fana Tesfagiorgis

Sarah Daley, Yannick Lebrun

Kanji Segawa, Danica Paulos,Jeroboam Bozeman, Collin Heyward

Jacquelin Harris, Michael Jackson, Jr., Jacqueline Green

Marcus Jarrell Willis

Collin Heyward, Sean Aaron Carmon, Samuel Lee Roberts

The Company

The Company

The Company

PROGRAM NOTES

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GwinnettGolf_ENC1502 fp.indd 1 1/16/15 5:37 PM


SUNDAY, FEBRUARY 15, 2015, at 3:00 p.m.

REVELATIONS (1960)

















The Company

Marcus Jarrell Willis, Jacquelin Harris, Fana Tesfagiorgis

Megan Jakel, Michael Jackson, Jr.

Michael Francis McBride, Samantha Figgins,Sean Aaron Carmon, Collin Heyward

Ghrai DeVore, Vernard J. Gilmore, Akua Noni Parker

Kirven Douthit-Boyd

Jeroboam Bozeman, Collin Heyward, Kanji Segawa

The Company

The Company

The Company

PROGRAM NOTES

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ALL ABOUT AILEYAlvin 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 25 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 235 works by more than 90 choreographers have been part of the Ailey company’s repertory. Before his untimely death in 1989, Mr. 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, and The New York Times declared he “has injected the company with new life.”

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

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

ROBERT BATTLE, ARTISTIC DIRECTOR

Robert Battle became artistic director of Alvin Ailey American Dance Theater in July 2011 after being personally selected by Judith Jamison, 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 Takademe and Unfold. In addition to expanding the Ailey repertory with works by artists as diverse as Aszure Barton, Ronald K. Brown, Jacqulyn Buglisi, Bill T. Jones, Wayne McGregor, Robert Moses, Ohad Naharin, Matthew Rushing, Hofesh Shechter, and Christopher Wheeldon, Mr. Battle has also instituted the New Directions Choreography Lab to help develop the next generation of choreographers. 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. He danced with the Parsons Dance Company from

1994 to 2001, and also set his choreography on that company starting in 1998. Mr. Battle then founded his own Battleworks Dance Company, which made its debut 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. 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. Most recently, in 2014, he received an honorary doctorate from The University of the Arts. He is a sought-after keynote speaker and has addressed a number of high-profile organizations, including the United Nations Leaders Programme and the UNICEF Senior Leadership Development Programme.

MASAZUMI CHAYA, ASSOCIATE ARTISTIC DIRECTOR

Masazumi 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 Rep ertory 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

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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. Mr. Chaya has restaged numerous ballets by Alvin Ailey, including 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, and Witness for the Company. At the beginning of his tenure as associate artistic director, Mr. Chaya restaged Ailey’s For ‘Bird’ - With Love for a Dance in America program entitled 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 2002 Mr. Chaya coordinated the Company’s appearance at the Rockefeller Center Christmas tree-lighting ceremony, broadcast on NBC. In 2003 he restaged The River for North Carolina Dance Theatre and for Julio Bocca’s Ballet Argentina. Most recently, Mr. Chaya restaged Pas de Duke, The River, Streams, Urban Folk Dance, and Vespers 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, FOUNDER

Alvin 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. He was introduced to dance in Los Angeles by performances of the Ballet Russe de Monte Carlo and the Katherine Dunham Dance Company, and 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 the 1950s and 60s, Mr. Ailey performed in four Broadway shows, including House of Flowers and Jamaica. 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 received numerous honors and awards, and in 2014, he posthumously received the Presidential Medal of Freedom, the country’s highest civilian honor, in recognition of his contributions and commitment to civil rights and dance in America. 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 multi-racial brotherhood.”

JUDITH JAMISON, ARTISTIC DIRECTOR EMERITA

Judith 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 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 prime time 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 “The TIME 100: The World’s Most Influential People” and honored by First Lady Michelle Obama at the first White House Dance Series event. This year she became the 50th inductee into the Hall of Fame at the National Museum of Dance. 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

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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. Mr. Chaya has restaged numerous ballets by Alvin Ailey, including 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, and Witness for the Company. At the beginning of his tenure as associate artistic director, Mr. Chaya restaged Ailey’s For ‘Bird’ - With Love for a Dance in America program entitled 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 2002 Mr. Chaya coordinated the Company’s appearance at the Rockefeller Center Christmas tree-lighting ceremony, broadcast on NBC. In 2003 he restaged The River for North Carolina Dance Theatre and for Julio Bocca’s Ballet Argentina. Most recently, Mr. Chaya restaged Pas de Duke, The River, Streams, Urban Folk Dance, and Vespers 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, FOUNDER

Alvin 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. He was introduced to dance in Los Angeles by performances of the Ballet Russe de Monte Carlo and the Katherine Dunham Dance Company, and 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 the 1950s and 60s, Mr. Ailey performed in four Broadway shows, including House of Flowers and Jamaica. 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 received numerous honors and awards, and in 2014, he posthumously received the Presidential Medal of Freedom, the country’s highest civilian honor, in recognition of his contributions and commitment to civil rights and dance in America. 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 multi-racial brotherhood.”

JUDITH JAMISON, ARTISTIC DIRECTOR EMERITA

Judith 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 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 prime time 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 “The TIME 100: The World’s Most Influential People” and honored by First Lady Michelle Obama at the first White House Dance Series event. This year she became the 50th inductee into the Hall of Fame at the National Museum of Dance. 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

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Places) (2009). Ms. Jamison’s autobiography, Dancing Spirit, was edited by Jacqueline Kennedy Onassis and published in 1993. In 2004, under Ms. Jamison’s artistic directorship, her idea of a permanent home for the Ailey company was realized and named after beloved Chairman Joan Weill. 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

AND GUEST ARTISTMatthew Rushing was born in Los Angeles, California. He began his dance training with Kashmir Blake in Ingle-wood, California, 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 Austria, Canada, France, Italy, and Russia. He has performed for Presidents George H. W. Bush, Bill Clinton, George W. Bush, and Barack Obama, as well as at the 2010 White House Dance Series. During his time with the Company, he has choreographed three ballets: Acceptance In Surrender (2005), a collaboration with Hope Boykin and Abdur-Rahim Jackson; Uptown (2009), a tribute to the Harlem Renaissance; and ODETTA (2014), a celebration of “The queen of American folk music.” In 2012 he created Moan, which was set on Philadanco and premiered at The Joyce Theater. Mr. Rushing joined the Company in 1992 and became rehearsal director in June 2010.

CHOREOGRAPHERS RONALD K. BROWN founded Evidence, A Dance Company in 1985 and is the company’s artistic director. Mr. Brown has also set works on Alvin Ailey American Dance Theater, Ailey II, Cleo Parker Robinson Ensemble, Dayton Contemporary Dance Company, Jennifer Muller/The Works, Philadanco, Muntu Dance Theater of Chicago, and Ballet Hispanico. He choreographed Regina Taylor’s play Crowns and won an AUDELCO Award for his work on that production. Mr. Brown has received a New York Dance and Performance Award (Bessie), two Black Theater Alliance Awards, and a Fred and Adele

Astaire Award for his choreography on Broadway for the Tony Award–winning The Gershwins’ Porgy and Bess. Mr. Brown has received the John Guggenheim Memorial Fellowship, National Endowment for the Arts Choreographers Fellowship, New York Foundation for the Arts Fellowship, United States Artists Rose Fellowship, and The Ailey Apex Award for teaching. Mr. Brown is a member of Stage Directors & Choreographers Society.

Award-winning choreographer JACQULYN BUGLISI has created 100 ballets using literature, history and heroic archetypes to illuminate the human condition. Following her illustrious career with The Martha Graham Dance Company, Ms. Buglisi became artistic director and co-founder of Buglisi Dance Theatre. BDT performs worldwide at venues including The Joyce Theater, The Kennedy Center, Jacob’s Pillow, Vail International Dance Festival, and the Melbourne Festival in Australia. Ms. Buglisi’s Table of Silence 9/11, a ritual for peace with 154 dancers at Lincoln Center, earned proclamations from Governor Andrew Cuomo and Mayor Bill de Blasio. Her commissions include North Carolina Dance Theatre, Ailey II, The Juilliard School, Teatro Danza Contemporanea di Roma, Prague International Festival, Richmond Ballet, Father Fame Foundation, New York Flamenco Festival Madrid, and The Martha Graham Dance Company. Ms. Buglisi has been the modern department chair of The Ailey School since 1990. Honors: National Endowment for the Arts fellowships, American Dance Guild Award, Fiorello LaGuardia Award, Altria’s Women Choreographer Award, and Kaatsbaan Playing Field Award for her masterpiece Requiem. www.buglisidance.org

ASADATA DAFORA (1890–1965), a native of Freetown, Sierra Leone, in West Africa, was one of the pioneers of black dance in America. Prior to arriving in New York in 1929, Mr. Dafora studied music in Europe and traveled extensively throughout Africa, seeking knowledge about the rich and varied heritage of African art and culture. His unique talents burst upon the New York entertainment scene with his dance opera Kykunkor (The Witch Women) in 1934. The production proved that the authentic portrayal of African music and dance could be successful on the American concert stage. Mr. Dafora’s company went on to be featured in Orson Welles’ production of Macbeth and other critically acclaimed productions, setting the stage for future trailblazers of African-American dance.

The late, beloved ULYSSES DOVE was a “choreographer with a bold new voice,” whose works can be seen in the repertories of major dance companies such as Alvin Ailey American Dance

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Theater, The Culberg Ballet, Bayerische Statsoper, and Ballet France de Nancy. A native of Columbia, South Carolina, Mr. Dove began studying modern dance and ballet with Carolyn Tate, Xenia Chilstowa, Jack Moore, Judith Dunn, Bertram Ross, Helen McGehee, and Mary Hinkson. After receiving his bachelor’s degree from Bennington College, Mr. Dove moved to New York City where he studied with Maggie Black and Alfredo Corvino, and performed with José Limón, Mary Antony, Pearl Lang, and Anna Sokolow. In 1970 he received a scholarship to the Merce Cunningham School, and later joined the Merce Cunningham Dance Company. Shortly thereafter, he made his choreographic debut in 1979 with Alvin Ailey American Dance Theater. From 1980–83 Mr. Dove was the assistant director of Groupe Recherche Choreographique de l’Opera de Paris, where he taught company classes and choreographed.

Dutch choreographer HANS VAN MANEN has created more than 120 ballets for more than 50 companies, including the Nederlands Dans Theater 1, Stuttgart Ballet, Berlin Opera, the National Ballet of Canada, San Francisco Ballet, The Royal Ballet, The Royal Danish Ballet, and the State Opera in Vienna. He began his career in 1951 as a member of Sonia Gaskell’s Ballet Recital and created his first ballet for the Dutch National Ballet in 1957, for which he won the State Award for Choreography. He currently serves as resident artist of the Dutch National Ballet. In 2007 the Dutch National Ballet held a festival in celebration of his 75th birthday, at which he was promoted to Commander of the Order of the Netherlands Lion. Mr. van Manen has received numerous other awards for his work, including the Prix Benois de la Danse in 2005 and the Golden Age Award in 2013.

CHARLES MOORE (1928–86) studied and performed with Professor Opoku and Seth Lapzekpo of Ghana as well as two of the most important exponents of Af-rican dance in the United States, Asadata Dafora and Katherine Dunham. He was a member of the Dunham company for ten years, and Dunham’s in-fluence is the strongest in Mr. Moore’s own work. His long and successful career includes Broad-way and concert stage performances around the world with Alvin Ailey, Donald McKayle, and Geoffrey Holder, among others. Mr. Moore was a master teacher and taught internationally in Germany, Barbados, the Bahamas, Jamaica, and at The University of The West Indies, The Prin-cipality of Lichtenstein, and the American Dance Festival in Durham, North Carolina, and in other cities across the United States.

Director and choreographer CHRISTOPHER WHEELDON studied at The Royal Ballet School

and joined New York City Ballet in 1993. He was appointed NYCB’s first resident choreographer in July 2001 and founded Morphoses/The Wheeldon Company in 2007. His full-length ballet creations include: The Sleeping Beauty for The Royal Danish Ballet, Swan Lake for Pennsylvania Ballet, Alice’s Adventures in Wonderland for The Royal Ballet and National Ballet of Canada, and Cinderella for San Francisco Ballet and Het Nationale Ballet. For the Metropolitan Opera, Mr. Wheeldon choreographed “Dance of the Hours” for La Gioconda and Carmen. He also created ballet sequences for the feature film Center Stage as well as the Broadway production of Sweet Smell of Success. In 2014 he created A Winter’s Tale for The Royal Ballet and is currently directing and choreographing the Broadway-bound An American in Paris, which will premiere in Paris at the Théâtre du Châtelet.

WHO’S WHO IN THE COMPANY

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, D.C., 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 Award (Bessie). 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.

JEROBOAM BOZEMAN (Brooklyn, NY) began his dance training under Ruth Sistaire at the Ronald Edmonds Learning Center. He later joined Creative Outlet, under Jamel Gaines, and was granted full scholarships at the Joffrey Ballet School and Dance Theatre of Harlem. Mr. Bozeman is a gold-medal recipient of the NAACP ACT-SO Competition in Dance. He performed in Elton John and Tim Rice’s Broadway musical Aida (international tour in China) and was a part of Philadanco, Donald Byrd’s Spectrum Dance Theater, and Ailey II. Mr. Bozeman joined the Company in 2013.

SEAN AARON CARMON (Beau mont, TX) attended New York University’s Tisch School of

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the Arts and later graduated from the Ailey/Fordham B.F.A. Program in Dance in 2010. As a college senior he was a member of Elisa Monte Dance and subsequently originated the role of Phaedra in the 2010 Tony Award–winning revival of La Cage Aux Folles. Mr. Carmon also performed in the longest-running musical on Broadway, The Phantom of the Opera. He has appeared as a guest artist with the International Dance Association in Italy and with the Cape Dance Company in South Africa. As a choreographer and jazz teacher, he has taught at and set works, both original and as a répétiteur, on numerous high schools, colleges, and for the Youth American Grand Prix competition. Mr. Carmon joined the Company in 2011.

ELISA CLARK (Brandywine, MD) received her early training from the Maryland Youth Ballet and earned her B.F.A. from The Juilliard School, under the direction of Benjamin Harkarvy. She was a founding member of Robert Battle’s Battleworks Dance Company from 2001–06, where she also served as company manager. In addition, Ms. Clark was a member of Mark Morris Dance Group and Lar Lubovitch Dance Company, as well as a dancer at the Metropolitan Opera, where she worked with Crystal Pite, among others. She has assisted Mr. Battle on several commissions, including Juba and Love Stories. As a teacher, Ms. Clark has been on faculty at the American Dance Festival, taught numerous master classes throughout the nation and abroad, and worked closely alongside Carolyn Adams. She is a 2008 Princess Grace Award winner. Ms. Clark joined the Company in 2013.

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 at Ballet Camp Illinois and Ballet Adriatico in Italy. She is a recipient of a Youth America Grand Prix Award and an ARTS Foundation Award. She was a member of Ailey II and joined the Company in 2011.

GHRAI DeVORE (Washington, D.C.) began her formal dance training at the Chicago Multi-cultural 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 LINES Ballet. Ms. DeVore was a member of Deeply Rooted Dance Theater, 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-BOYD (St. Louis, MO) began his dance training at age 16 at the Center of Con temporary 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-Boyd became a 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-Boyd joined the Company in 2004.

KIRVEN DOUTHIT-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. Douthit-Boyd has danced with Battleworks Dance Company, Parsons Dance Company, and Ailey II. He performed at the White House Dance Series in 2010. Mr. Douthit-Boyd joined the Company in 2004.

SAMANTHA FIGGINS (Washington, D.C.) began dancing at Duke Ellington School of the Arts under the tutelage of Charles Auggins and Sandra Fortune-Greene and attended summer intensives at Dance Theatre of Harlem under the direction of Arthur Mitchell. She continued her education at SUNY Purchase Conservatory of Dance. There, she performed works by George Balanchine, Bill T. Jones, Paul Taylor, and Twyla Tharp. Upon graduating cum laude, Ms. Figgins became a member of Complexions Contemporary Ballet, performing works by Dwight Rhoden, Jae Man Joo, and Camille A. Brown. She also performed at the 2014 DanceOpen Festival in St. Petersburg, Russia. Ms. Figgins was featured both on the cover of Dance Spirit magazine and in Pointe magazine’s “10 Careers to Watch” in 2013. She has worked with Beyoncé and can be seen in the film Enemy Within alongside Tiler Peck and Matthew Rushing. Ms. Figgins joined the Company in 2014.

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

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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 Dance Series. 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 (Bal timore, 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 Dance Festival. She has performed works by a variety of choreographers, including Elisa Monte, Helen Pickett, Francesca Harper, Aszure Barton, Earl Mosley, and Michael Vernon. Ms. Green was the recipient of the Martha Hill Fund’s Young Professional Award in 2009 and the Dizzy Feet Foundation Scholarship in 2010. She 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 graduate of the Ailey/Fordham B.F.A. Program in Dance, where he was awarded the Jerome Robbins/Layton Foundation Scholarship. He participated in the Holland Dance Festival with The Ailey 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.

JACQUELIN HARRIS (Charlotte, NC) began her dance training at Dance Productions Studios under the direction of Lori Long. In 2010, as a finalist for National Foundation for the Advancement of the Arts, Ms. Harris received a silver ARTS award and was a semifinalist for the Presidential Scholar in the Arts. She attended summer programs at Jacob’s Pillow and Joffrey Ballet School and has performed works by Kate Skarpetowska, Daniel Catanach, Troy Powell, and Erika Pujic. She graduated with honors from the Ailey/Fordham B.F.A. Program in Dance. She was a member of Ailey II and joined the Company in 2014.

COLLIN HEYWARD (Newport News, VA) began his training at The Academy of Dance

and Gymnastics in Newport News, under the direction of Linda Haas, and later at Denise Wall’s Dance Energy in Virginia Beach. Mr. Heyward also attended several dance intensives, including Earl Mosley’s Institute of the Arts and Hofesh Shechter Company, and has performed works by Sidra Bell, Francisco Martinez, Elisa Monte, and Scott Rink. He has made guest appearances with Company Stefanie Batten Bland and in the revival of E. Clement Bethel’s The Legend of Sammie Swain, directed by Philip A. Burrows in Nassau, Bahamas. Mr. Heyward is also a featured dancer in the Fox Searchlight film Black Nativity. He graduated with honors from the Ailey/Fordham B.F.A. Program in Dance and was a member of Ailey II from 2010 to 2012. Mr. Heyward joined the Company in 2014.

DEMETIA HOPKINS GREENE (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 at 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 Greene graduated with honors from the Ailey/Fordham B.F.A. Program in Dance in 2009, and she was a recipient of a Leonore Annenberg Fellowship in the Arts in 2011. Ms. Hopkins Greene 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 and rejoined in 2015.

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. Ms. Jakel has performed works by choreographers David Parsons, Debbie Allen, Thaddeus Davis, Hans van Manen, and Dwight Rhoden. 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. After graduating high school in 2004, he moved to New York City to

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study at The Ailey School as a scholarship student. Mr. Lebrun has performed works by choreographers Troy Powell, Debbie Allen, Scott Rink, Thaddeus Davis, Nilas Martins, Dwight Rhoden, and Francesca Harper. He was named one of Dance Magazine’s “25 to Watch” in 2011, and, in 2013, France-Amérique magazine highlighted him as one of the 50 most talented French in the United States. Mr. Lebrun was a member of Ailey II and joined the Company in 2008.

ALICIA GRAF MACK is currently on leave of absence for the 2014–15 season.

RENALDO MAURICE (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. Maurice 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 Foundation Scholarship in 2009. In February 2012 Mr. Maurice was honored with the key to the city of Gary, Indiana, his hometown. He was a member of Ailey II and joined 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, New York. 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. In January 2012 Mr. McBride performed and taught as a guest artist with the JUNTOS Collective in Guatemala. 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 she joined the Toronto cast of Mamma Mia! Ms. McLaren moved to New York City to study at The Ailey School as a scholarship student and later joined Ailey II. She has performed works by Karole Armitage, Dwight Rhoden, Francesca Harper, and Nilas Martins. Ms. McLaren joined the Company in 2008.

AKUA NONI PARKER (Kinston, NC) began dancing at the age of three. She later moved to Wilmington, Delaware, and continued her training at the Academy of the Dance until she graduated high school. In 1999 she joined Dance Theater of Harlem where she danced leading roles in Agon, Giselle,

and The Four Temperaments. In 2005 she joined Cincinnati Ballet where she danced soloist roles in Swan Lake and Lambarena. In 2006 Ms. Parker joined Ballet San Jose where she was the first African-American woman to dance the Sugar Plum Fairy in The Nutcracker. She teaches master classes throughout the country, has coached young dancers for YAGP, and worked on the film Enemy Within as a wardrobe consultant and rehearsal director. Since joining the Company she has had the pleasure of performing at the Gala of International Dance Stars. She joined the Company in 2008.

DANICA PAULOS (Huntington Beach, CA) began her dance training at Orange County Dance Center in southern California and also studied in Los Angeles with Yuri Grigoriev. She graduated from the Professional Performing Arts School in New York and trained at The Ailey School as a scholarship student. Ms. Paulos attended summer intensives at Kirov Academy of Ballet, The Juilliard School, Complexions Contemporary Ballet, and Jacob’s Pillow. She has performed works by Robert Battle, Judith Jamison, Matthew Rushing, Hope Boykin, Erika Pujic, Christian von Howard, Earl Mosley, and Kate Skarpetowska. Ms. Paulos received a Level 1 Award as a YoungArts finalist by the National Foundation for Advancement in the Arts. She joined the Company in 2014.

BELEN PEREYRA (Lawrence, MA) began her formal dance training at the Boston Arts Academy, where she graduated as valedictorian. She was also a member of Origination Cultural Arts Center in Boston. Upon moving to New York City, Ms. Pereyra was closely 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 Dance Festival, and Dancers Responding to AIDS’ annual events Dance from the Heart and The Fire Island Dance Festival. Ms. Pereyra 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. Pereyra joined the Company in 2011.

JAMAR ROBERTS (Miami, FL) graduated from the New World School of the Arts. He trained at the Dance Empire of Miami and as a scholarship student at The Ailey School. Mr. Roberts was a member of Ailey II and Complexions. He first joined the Company in 2002.

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

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performed during the award ceremony at the 2002 Salt Lake City Winter Olympics, worked 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 performed several roles in Julie Taymor’s film Across the Universe and the original opera Grendel. Mr. Roberts joined the Company in 2009.

KANJI SEGAWA (Kanagawa, Japan) began his modern dance training with his mother, Erika Akoh, and studied ballet with Kan Horiuchi and Ju Horiuchi 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 was a member of Ailey II from 2000–02 and Robert Battle’s Battleworks Dance Company from 2002–10. He worked extensively with choreographer Mark Morris from 2004–11, repeatedly appearing in Mr. Morris’ various productions, including as a principal dancer in John Adams’ Nixon in China at The Metropolitan Opera. He has also worked with Aszure Barton’s Aszure & Artists, Jessica Lang Dance, Earl Mosley, Jennifer Muller/The Works, and Igal Perry. 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, New Jersey. 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, The Today Show, and So You Think You Can Dance. In 2010 Mr. Sims taught as a master teacher in Ravenna, Italy, for Dance Up Ravenna, sponsored by the International Dance Association, and performed in the White House Dance Series. He has performed for the king of Morocco and is a certified Zena Rommett Floor-Barre instructor. Mr. Sims was featured on the cover of and wrote a featured guest blog for Dance Magazine. Recently, he became a certified pilates mat trainer. 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 addition to a National Foundation for Advancement in the Arts Award, Mrs. Sims won Outstanding Performance at the 2014 New York Dance and Performance Awards (“The Bessies”). Featured on the cover of Dance Magazine, and in annual “Best of” lists, she has performed as a guest star on So You Think You Can Dance, Dancing with the Stars, and The Today Show. Mrs. Sims has also made guest appearances at the White House Dance Series,

Youth America Grand Prix, Vail International Dance Festival, and galas in Budapest and Vienna. She teaches classes around the world and is a certified Floor-Barre instructor. Mrs. Sims joined the Company in 1996.

JERMAINE TERRY (Washington, D.C.) began his dance training in Kissimmee 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 Theatre, Arch Dance, Dance Iquail, and Philadanco. In 2013 he received the Distinguished Alumnus Award from USF for outstanding service to the arts. Mr. Terry joined the Company in 2010.

FANA TESFAGIORGIS (Madison, WI) is a graduate of the Ailey/Fordham B.F.A. Program in Dance, with a minor in journalism. She began training at Ballet Madison, under the direction of Charmaine Ristow, and Interlochen Arts Academy High School. Ms. Tesfagiorgis also trained at summer and winter intensives at Earl Mosley’s Institute of the Arts, Alonzo King LINES Ballet, and Lar Lubovitch Dance Company. Professionally, she has danced with Ailey II, Brian Harlan Brooks’ Continuum, Alenka Cizmesja’s Art DeConstructed, Dance Iquail, Freddie Moore’s Footprints, and Samuel Pott’s Nimbus Dance Works. Ms. Tesfagiorgis has been a rehearsal assistant for Hope Boykin, Earl Mosley, Pedro Ruiz, Matthew Rushing, and Sylvia Waters. She joined the Company in 2013.

MARCUS JARRELL WILLIS (Houston, TX) began his formal training at the Johnston Per-forming 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 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.

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TRUSTEES/STAFF

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ALVIN AILEY DANCE FOUNDATION BOARD OF TRUSTEESDaria L. Wallach, Chairman

Debra L. Lee, President

Simin N. Allison, Linda M. Lindenbaum, Arthur J. Mirante II, John H. Schaefer, Vice-Chairmen

James G. Abruzzo, Gina F. Adams, Frank R. Ahimaz, Eleanor S. Applewhaite, Robert Battle, Nicole A. Bernard, Kathryn C. Chenault, Jenny Ireland, Anthony S. Kendall, Robert Kissane, Ricki Lander, Michelle Y. Lee, Natasha Leibel Levine, M.D., Anthony A. Lewis, Leslie L. Maheras, Stephen J. Meringoff, Gabriella E. Morris, Marylin L. Prince, Robin C. Royals, Richard Speciale, Marc S. StrachanPhilip Laskawy, Harold Levine, Stanley Plesent, Esq., Joan H. Weill Chairmen Emeriti

Henry McGee, President EmeritusAnthony M. Carvette, Lemar Swinney, Honorary Trustees

ALVIN AILEY DANCE FOUNDATION Recipient of the National Medal of Arts

Bennett Rink – Executive Director

Pamela Robinson – Chief Financial OfficerThomas Cott – Senior Director of Marketing and Creative ContentKimberly Watson – Senior Director of Development

ALVIN AILEY AMERICAN DANCE THEATER Matthew Rushing, Rehearsal DirectorLinda Celeste Sims, Assistant to the Rehearsal DirectorDacquiri T’Shaun Smittick, Director of Production Isabelle Quattlebaum, Director of Company Business Affairs David Gibson, Senior Production Consultant Gregory Stuart, Company ManagerJoseph Anthony Gaito, Technical DirectorKristin Colvin Young, Production Stage Manager Al Crawford, Lighting Director Jon Taylor, Wardrobe Supervisor

Mike Diaz, Master Carpenter David Kerr, Master Electrician Nicholas Correa, Sound Engineer Chris Theodore, Property MasterMychael G. Chinn, Assistant Company ManagerNicole A. Walters, Assistant Stage Manager Roya Abab, Associate Lighting DirectorDante Baylor, Senior Wardrobe AssistantJesse Dunham and Katie Chihaby, Wardrobe AssistantsDJ Adderley, Flyman Zane Beatty, Assistant Electrician Christina Collura, Performance and Production Project ManagerDavid Claps, Production AssociateDonald 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 TherapistSara Rakov, Physical Therapist

TOURING CONTACTSNorth American AgentOPUS 3 ARTISTS470 Park Avenue South, 9th Fl NorthNew York, NY 10016Tel: 212-584-7500, opus3artists.com

International AgentASKONAS HOLT LTD.Lincoln House, 300 High Holborn,London WC1V 7JH, United KingdomTel: +44-20-7400-1700Jonathan Fleming, Senior Project [email protected]

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 Groupwww.AileyShop.com

Alvin Ailey American Dance Theater The Joan Weill Center for Dance405 West 55th Street • NY, NY 10019-4402 Tel: 212-405-9000 • AlvinAiley.org facebook.com/AlvinAileyAmericanDanceTheater

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PerformingArtsPatron_ENC1410 hp.indd 1 9/27/14 11:57 AM

FRIENDS OF THE FOX

ENCOREDouglas BorensteinConcierge Services of AtlantaKevin FoleyRoger GelderBill HugheyChris HurstGeorge Kuhn

Sean OhRonda ParksChristian RaverSteve RaverJanice and Gary SloanJason StutzmanAnthony TrittDavid Wilcox

LEGENDThomas Edwards

The Fox Theatre would like to thank the fol-lowing Friends of the Fox who have given at the Encore ($2,500) and Legend ($10,000) levels:


Members of the Fox Theatre’s Friends of the Fox program help support the Fox Theatre Institute, the theater’s community engagement arm. The Fox Theatre’s legend lives on through their generosity, supporting the theater, the city of Atlanta and communities across Georgia.

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FOR YOUR INFORMATIONTHE THEATREA fully restored 1929 “Movie Palace,” the Fox Theatre, with 4,665 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.

TICKET OFFICEThe Fox Theatre Ticket Office is located in the arcade entrance to the theatre. The Ticket 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 Ticket Office is not open on Sundays unless there is a performance. On event days, the Ticket 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 online at www.FoxTheatre.org, all Ticket Alternative outlets and all Atlanta-area Whole Foods Markets, by calling 855-285-8499, or by visiting the Fox Theatre Ticket 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.

TOURSFox Theatre Tours are conducted Mondays and Thursdays at 10 AM, 11 AM, noon and 1 PM. Saturday tours are offered at 10 AM and 11 AM. Fox Theatre Tours are guided by Fox employees well-versed in the Fox’s history, current events, awards, and upcoming shows. Tickets for Fox Theatre Tours are available at the Fox Theatre Ticket Office or online at www.foxtheatre.org. Special Tours can range from backstage to architectural to a school or college group. Please contact the Fox Theatre by calling 404.881.2100 to schedule your group tour.

LOST AND FOUNDLost and found items are turned in to the Event Staff ’s office. To check on lost items, please call 404-881-2119. Lost and found items will be retained for 30 days.

EMERGENCY INFORMATIONIn the event of an emergency, and for your safety, please follow the directions provided by the Fox Theatre staff.

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.

ABOUT ACCESSIBILITYThe Fox Theatre strives to make events accessible to all guests. If you require assistance during your visit to the Fox Theatre please seek out or ask for one of our Accessible Ambassadors. These staff members are attired in the traditional Fox Theatre uniform however also have gold braid and white gloves to make them easier to see. The Fox Theatre offers the use of wheelchairs, listening devices and booster seats at no additional charge. Our Ambassadors will assist you to special restroom accommodations. Note: Steep Steps lead to all seats on the upper levels. For assistance needed or additional information on programs, please contact the Event Staff’s office at: 404-881-2119.

TICKETSTo purchase accessible seating at the Fox Theatre please call: 404-881-2016 Monday through Friday, 10:00 AM – 6:00 PM or on Saturday, 10:00 AM-3:00 PM. A Fox Theatre Ticket Office Associate will be happy to help you. Ticket buyers may also visit the ticketing site at www.foxtheatre.org.

PROGRAMS PROVIDEDOpened Captioning Performance Sponsored in partnership through TDF (Theatre Development Fund).

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 Ticket Office or by calling 855-285-8499. 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.)


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THE FOX THEATRE660 Peachtree Street, N.E.

Atlanta, Georgia 30308404.881.2100 • www.foxtheatre.org

STAFFAllan C. Vella . . . . . . . . . . . . . . . . . . . . . . . .President & C.E.O.Adina Alford Erwin . . . Vice President & General ManagerJeff Quesenberry . . . . . . . . . . . . . . . Vice President & C.F.O.Jennifer S. Farmer. . . . . . . . . . . Director of Sales/BallroomsJay Forrester . . Director of Concessions & MerchandisingMolly Fortune . . . . Director of Restoration and OperationsElton Houze. . . . . . . . . . . . . Director of Information SystemsJamie Vosmeier . . . . . . . .Director of Ticket Sales & ServiceShelly Kleppsattel . . . . . . . . . Booking & Contract AssociateRick Robbins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ControllerRachel Bomeli . . . . . . . . . . . . . . . . . . . . . Ticket Office ManagerKen Butler . . . . . . . . . . . . . . . . . . . . . Guest Services ManagerNikki Griffin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sales ManagerCarmie McDonald . . . . . Community Engagement ManagerShelby Moody . . . . . . . . . . . . . . . . . . . . . Ticket Sales ManagerDan Goldberger. . . . . . . . . . . . . . . . . . . . . . . . . . . E-Commerce

and Social Media ManagerAmy Smith . . . . . . . . . . . . . . . . . . . . . . . . . Production ManagerLen Tucker . . . . . . . . . . . . . . . . . . . . . . . . . . . . Project Manager Gary Hardaway . . . . . . . . . . . . . . . . . . . . . . Master CarpenterLarry Watson . . . . . . . . . . . . . . . . . . . . . . . . . . . . House FlymanScott Hardin . . . . . . . . . . . . . . . . . . . . . . . . . . .Property MasterRay T. Haynie . . . . . . . . . . . . . . . . . . . . . . . . Master ElectricianCary Oldknow . . . . . . . . . . . . . . . . . . . . . Assistant ElectricianRodney Amos . . . . . . . . . . . . . . . . . . . . . Head Sound Engineer

BOARD OF DIRECTORSEdward L. White . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ChairmanKeith O Cowan. . . . . . . . . . . . . . . . . . . . . . . . . . Vice Chairman

Clara Axam, Robyn Barkin, Beauchamp Carr, Renee Dye, Sheffield Hale, John Holder, Edward Hutchison,

Walt Huntley, Craig Jones, Jay Myers, Glen Romm

EMERITUS MEMBERS John Busby, Jr., Anne Cox Chambers, Pat Connell,

Rodney Cook, Ada Lee Correll, Richard Courts, Jere Drummond, Richard Flinn, Julia Grumbles, Steve Koonin, Charles Lawson, Robert Minnear,

Starr Moore, Joseph Myers, Edward Negri, Edgar Neiss, Joe Patten, Carl Patton, Herman Russell,

Sylvia Russell, Nancy Simms, Preston Stevens, Alan Thomas, Clyde Tuggle, Carolyn Wills

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.

ENCOREATLANTA.COM52

Mark Twain got it all wrong when he dismissed the game of golf as “a good

walk spoiled.”Golf actually presents ideal op-

portunities for soaking in spectacular scenic views and spying on natural wildlife while you engage in the futile pursuit of the perfect swing.

And with Georgia’s weather (and at the descretion of course managers) you can pretty much go swinging year-round.

In fact, when Golf Digest’s editors and readers ranked the 100

best public courses in America for 2014, two Peach State landmarks (Sea Island Golf Club on St. Si-mons Island and the Golf Club of Cuscowilla in Eatonton) made the list at Nos. 36 and 56, respectively. Both are acclaimed for their idyllic views and vibrant terrain.

In Golf Digest’s roundup of the best places to play on the planet, Augusta National ranked near the top. The members-only home of professional golf ’s fabled Green Jacket finished No. 3 on the Hot 100 list.

(Above) Reynolds Plantation’s six distinct golf courses rank No. 6 on Golf magazine’s list of Georgia’s best. (Right top) Bobby Jones Gold Course in Atlanta; (Right bottom) The Frog (at the Georgian) in Villa Rica.

Nature’s the saving grace of Georgia’s best public golf courses By A. Scott Walton

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But let’s bring the game intown, or thereabouts. Metro Atlanta abounds with esteemed and accessible public courses that celebrate nature and all it offers. Here’s a select list.

CHEROKEE RUN GOLF CLUBTucked into woody terrain in Conyers, about an hour east of Atlanta, this course designed by golfing icon Arnold Palmer stretches over 7,016 yards of rolling hills that preserve the serenity of the site that was home to Cherokee Indians for centuries. The narrow, Zoysia grass fairways are barely traceable amid the thick pines. Natural outcroppings of granite as well as 96 craftily placed sand traps add to the par 72 course’s degree of difficulty. GolfNow magazine

calls Cherokee Run “one of the area’s toughest tests” due its firm, fast putting surfaces and “startling” changes in elevation.

THE FROG (AT THE GEORGIAN)This Tom Fazio-designed sanctuary in Villa Rica is endorsed by the Audubon Society because of its respect for preserving natural park land. Golf Digest rates the Frog at 4½ stars (out of 5). The course has welcomed a number of high-pro-file celebrity, charity and Pro-Am events. Brand-new baseball Hall of Famer John Smoltz putts there, as do any number of sports person-alities. Playing from the Blue tees, you’ll be challenged by 6,239 yards of high-arching pines, staggered ponds, undulating fairways strewn with sand bunkers, and slick putting greens.

BOBBY JONES GOLF COURSEOn clear days, golfers can scan the Atlanta skyline for a panoramic perspective of this 83-year-old course’s uncontrived charms. Ancient oak trees loom wide and low over fairways where Civil War skirmishes once took place. The course was delicately carved out of 36 acres of city-owned land and dedicated to the legendary grace and influence of multiple major-tournament winner Robert Tyre “Bobby” Jones Jr. Just 10 minutes northeast of downtown, Bobby Jones takes full advantage of the expansiveness of Peachtree Battle Creek. An 18-hole round on the par 70, 5,888-yard track entails tee shots over the semi-still creeks on the first and final holes.

BEAR’S BEST (SUWANEE)This course, 37 miles north of Atlanta, combines the design instincts of golf ’s all-time major championship leader with the corporate/communal ameni-

WHERE TO FIND THEMBear’s Best (Atlanta) 5342 Aldebourgh Drive, Suwanee. 678.714.2582, clubcorp.com/Clubs/Bear-s-Best-Atlanta

Bobby Jones Golf Course 384 Woodward Way, Atlanta. 404.355.1009, bobbyjonesgc.com

Cherokee Run Golf Club 1595 Centennial Olympic Parkway, Conyers. 770.785.7904, cherokeerungolfclub.com

Club at Savannah Harbor 2 Resort Drive, Savannah. 912.201.2240, theclubat- savannahharbor.com

The Frog (at the Georgian) 2699 Georgian Parkway, Villa Rica. 770.459.4400, golfthefrog.com

Golf Club of Cuscowilla 126 Cuscowilla Drive, Eatonton | 706.484.0050, cuscowilla.com

Reynolds Plantation 5741 Lake Oconee Parkway, Greensboro. 706.467.3151, reynolds- plantation.com

Sea Island Golf Club 100 Cloister Drive, Sea Island. 855.572.4975, seaisland.com/golf

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Golfing at (Top) Bobby Jones Golf Course in Atlanta or (Bottom) Reynolds Plantation in Greensboro, Ga. presents you with opportunities for soaking in spectacular scenic views and spying on natural wildlife while you work on your swing.

ties that modern consumers demand. Golf magazine ranks Bear’s Best as Geor-gia’s 13th-best course. Over 6,857 yards, through winding

fairways of varying widths, play-ers are challenged to shoot par (72) on a combination of Jack Nicklaus’ 18 favorite holes in a career of designing 200 courses. Six holes are meant to mimic the look and feel of scenes where the Golden Bear, as Nicklaus is known, sealed a third of his 18 major tournament victories on both U.S. and British soil.

CLUB AT SAVANNAH HARBORDon’t let the affiliation with the Westin resort properties fool you into thinking this course is easy. The 7,288-year Savannah Harbor venue has hosted serious competi-tions like the Legends of Golf for years. Carved along the inlet shores of the Georgia coast, this course presents natural visual challenges like shifting waves from the sea, soggy marshes, the placement of daunting bunkers filled with crushed, bleached-white oyster shells and putting greens that look flat from a distance but roll devi-ously into the water or thick rough if not approached carefully. Ranked

No. 6 on the Golf magazine list of the Best Public Courses in Georgia, the Savannah Harbor venue is a good and evil garden of tests for your playing skills.

REYNOLDS PLANTATIONWith lodging and amenities by the Ritz-Carlton group, the Reynolds Plantation in Oconee strives for pre-eminence as Georgia’s ultimate “stay-and-play” spot. Regarded as one of the state’s prime locations for luxury hunting, fishing and relax-ing, Reynolds’ six distinct courses combine for a ranking of No. 6 on Golf magazine’s list of Georgia’s best. Geniuses of course design and construction—Jack Nicklaus, Tom Fazio, Rees Jones, Bob Cupp and Jim Engh—combined to create 117 holes of varying length and difficulty. All six courses (6,698 to 7,079 yards) rim the verdant banks of Lake Oconee and its tributaries. The sloping nature of the coastal to-pography presents players with the highest risks for hazardous shots.

A. Scott Walton is a seasoned life-style, sports and fashion write/editor with experience on the staffs of The Atlanta Journal-Constitution, Detroit Free Press and The Tennessean in Nashville. His favorite theater piece is “Fences.” G

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Charleston’s Wine + Food Fest draws 250 contenders from throughout the Southeast.

A decade ago, no one had any serious doubts about Charleston, S.C.’s, reputation as

a hub for refined Lowcountry cuisine.

But no one could have predict-ed that this winter’s 10th annual Charleston Wine + Food Festival (March 4-8) would become the

international attraction that expos-es the world to the Chucktown’s many other charms.

The festival showcases the best dining and drinking options Charleston has to offer, while the city’s diverse arts, shopping, tour-ing and recreational hot spots will supply plenty of peripheral distrac-tions. And if you miss the 2015

‘Chow Down’Food + Wine Fest isn’t the only reason to bite into the joys, culinary and otherwise, of Charleston By A. Scott Walton | Photo by Andrew Celbulka

Chucktown


event, you have plenty of time to plan for 2016. Plus, Charleston is a city with more than 100 diners, pubs and upscale eateries, so it’s pretty easy to stroll around and catch the foodie fervor.

In fact, walking the city’s downtown streets is a treat in itself. English settlers claimed the territo-ry in 1670, and The city, officially founded in 1783, was claimed in 1670 by English settlers. Through-out tests of time — including the Civil War — Charleston has maintained much of its historic architecture. Victorian homes are typically painted in cheerful pastels. Tour guides can point out where original signers of the Declaration of Independence, the inventor of the Morse code and Porgy & Bess composer George Gershwin all worked and ate and drank and slept.

At Wine + Fest time, more than 250 restaurants, wineries, small-batch liquor distilleries and guest chefs from throughout the Southeast convene in or near the Culinary Village for demonstra-tions, personal appearances and ticketed meals. The fest typical-ly draws tens of thousands of enthusiasts from around the globe, all willing to pay premium prices ($50 and up) to sample crafted adult beverages and the wizardry of top regional and international cooks.

Atlanta-based chefs featured this year include James Beard Award winner Hugh Acheson (The National, Empire State South); Steven Satterfield (Miller Union); Anne Quatrano (Baccha-nalia, Floataway Cafe, Abattoir); Jonathan and Justin Fox (Fox Bros. Bar-B-Q); Marvin Woods (the books Home Plate and The New Low Country) and Linton Hop-kins (Restaurant Eugene, among others).

Culinary Village, the festival’s main hub, is installed annually in

the historic Marion Square green space (open noon-6 p.m. daily at 329 Meeting St; $85 for out-of-towners, $70 for locals). Featured attractions there will include pop-up saloons, a cookbook retail shop with autograph sessions, a stand-alone wine retail shop, a new-to-the-festival Third Space tent where demonstrating chefs and attendees can interact more intimately, a new music stage, an artisanal food market and a biergarten.

Outside the village you’ll find such events as the Cross Culture BBQ; a Fifty Shades of Earl Grey high-tea affair with chef/author Nathalie Dupree; and the “Pop. Chic!” runway fashion show fea-turing styles from top brands based in the Southeast.

Festival attendees should be aware of key restrictions: No one under age 21 (even newborns or tykes) can attend official Wine + Food events even if no alcohol is served; pets aren’t welcome either.

Need a place to stay? Readers of CondéNast magazine, who reg-ularly rank Charleston as a favorite destination (No. 1 in the United States four years running and No. 2 in the world behind Florence, Italy), named these five among their favorite Southern hotels:

• At No. 5, Wentworth Mansion (149 Wentworth St. 843.853.1886).

• At No. 9, French Quar-ter Inn (166 Church St. 843.722.1900).

• At No. 16, Planters Inn (112 N. Market St. 843.722.2345).

• At No. 17, Belmond Charleston Place (205 Meet-ing St. 843.722.4900).

• And at No. 19, John Rut-ledge House Inn (116 Broad St. 800.476.9741).

For Wine + Food fest tickets, schedules and travel information, visit charlestonwineandfood.com or call 843-727-9998.

‘Chow Down’

IF YOU GOCharleston is about 298 miles from Atlanta. Driving there takes between four and five hours via I-20 East, U.S. 1 North and I-26 East. Nonstop flights on Delta take about 75 minutes and cost about $345. United Airlines and US Airways also fly there.

‘GLORY’ DAYS HAPPENED HEREThe revolutionary Charleston Wine + Food Festival comes once a year, but the first cannon blast of the Civil War is recalled—and put into per-spective —daily at Fort Sumter National Park.

On April 12, 1861, Confederate soldiers launched a swift and victo-rious attack on Charleston Harbor’s barrier island. For the four years that followed, Union soldiers’ lives were sacrificed repeatedly as the North tried to reclaim the gateway for the South’s main export: cotton.

This year marks the 25th anniversary of the feature film Glory, which depicts the deployment of freed slaves in the fight for Fort Sumter. Today, guided tours of the site offer enlightenment about the stakes, the tactics and the weaponry involved.

Fort Sumter Tours takes only Thanksgiving, Christmas Day and New Year’s Day off from showing tourists what it was like to cross the harbor from Charleston to the fort, storm the beach and fight from inside. The three-hour land-and-sea tours depart from Liberty Square in Charleston or Patriots Point in Mount Pleasant.

Details: Tickets at Fort Sumter Tours, 360 Concord St., Suite 201. 800.789.3678 or fortsumtertours.com.

Chucktown

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FOX FUN FACTS

The Fox Theatre Institute (FTI) is again paying it forward, with a $10,000 preservation grant to the historic Holly Theatre in Dahlonega, a popular and long-standing downtown landmark.

The Fox, saved from demolition itself 40 years ago, uses the FTI to help other historic Georgia theaters stay relevant and thrive. The FTI began in 2008 as a nonprofit arm of the theater, offering preservation and operations advice to arts venues across the state.

As a nonprofit, the Fox Theatre’s mission is to achieve long-term sustainability, so it can be shared with generations to come. By building on the theater’s experience and success, the FTI provides guidance, advice and consultation to other theaters so that they, too, can create thriving arts programs in their communities.

“The Fox Theatre Institute is one way we can encourage involvement in the arts and positively impact the cultural landscape of Georgia,” says Carmie McDonald, Fox Theatre

community engagement manager. “This is especially important this year because of our yearlong 40th anniversary campaign. The thought that the Fox could have been demolished 40 years ago is heartbreaking.”

Grant funds will be used on masonry for three sides of the Holly Theatre building and an eco-friendly retrofit of its original marquee. The sign will be fixed, painted and given LED bulbs. The Holly also will receive a $20,000 grant from Georgia Tourism and the Georgia Council for the Arts.

The Fox has worked with the Holly Theatre for more than five years on strategic planning for this project, which should be finished by June 30.

An interesting note: Since its inception, FTI — the only theater-based organization that focuses on the comprehensive preservation and operation of historic theaters — has collaborated on 10 projects worth a total of $332,000 in theaters across Georgia. Its impact has been felt in places like Americus, Athens, Augusta, Brunswick, Calhoun, Fitzgerald, Macon, Manchester, Marietta, Rome, Statesboro and Thomaston as well as Atlanta.

To learn more, or to help, please visit FoxTheatreInstitute.org or facebook.com/foxtheatreinstitute.

DAHLONEGA’S HOLLY THEATRE THE LASTEST HISTORIC SPOT TO BENEFIT FROM FOX THEATRE INSTITUTE GRANT


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February 2015: Alvin Ailey American Dance Theater at the Fox

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Transcript of February 2015: Alvin Ailey American Dance Theater at the Fox