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Al Taylor, What Are You Looking At?

AS FEATURED IN THE NEW YORK TIMES | HIGH MUSEUM OF ART | HIGH.ORG PREMIER EXHIBITION SERIES PARTNER

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CONTRIBUTING EXHIBITION SERIES SUPPORTERS: Barbara and Ron Balser, Corporate Environments, Peggy Foreman, James F. Kelly Charitable Trust, Jane Smith Turner Foundation, The Lubo Fund, Margot and Danny McCaul, and Joyce and Henry Schwob. GENEROUS SUPPORT IS ALSO PROVIDED BY The Alfred and Adele Davis Exhibition Endowment Fund, Anne Cox Chambers Exhibition Fund, Barbara Stewart Exhibition Fund, Dorothy Smith Hopkins Exhibition Endowment Fund, Eleanor McDonald Storza Exhibition Endowment Fund, Forward Arts Foundation Exhibition Endowment Fund, Helen S. Lanier Endowment Fund, Howell Exhibition Fund, and John H. and Wilhelmina D. Harland Exhibition Endowment Fund. Al Taylor (American,1948–1999), Odd Vows, 1988, The Estate of Al Taylor, Courtesy David Zwirner, New York/London. © The Estate of Al Taylor.

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ALVIN AILEY AMERICAN DANCE THEATER | FEBRUARY 2018 T H E F LOW E R ROOM BY

DARYL LISA FAZIO

28 Fox Fun Facts Watch what’s under your feet — that’s not just any old carpeting

PLUS…

6 The Stages of Winter

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APR 21-MAY 13, 2018

Five world and 2 regional premieres, Chris Coleman’s return, and evenings with August Wilson and Pearl Cleage top our list of what to see in Atlanta theater. | By Kathy Janich

16 Road Trip See the Southeast with four wheels and your family. We’ve got five stops in four states that are worth your time. By Therra Gwyn Jaramillo

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I-1 Battle Zone Alvin Ailey American Dance Theater leader Robert Battle looks to the past — 1960, the 1980s, 2004 — to entertain, provoke and inform the future. | By Julie Bookman

DEPARTMENTS I-11 Program 22 Information 24 Etiquette

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THE STAGES OF

WINTER 5 world and 2 regional premieres, Chris Coleman’s return, and evenings with August Wilson and Pearl Cleage top our list of what to see in Atlanta theater. By Kathy Janich 6 ENCOREATLANTA.COM


BY

DARYL LISA FAZIO

APR 21-MAY 13, 2018

YES, HAMILTON IS ON THE HORIZON. Arriving in May, in fact.

But don’t look too far ahead just yet. From now through the end of April, Atlanta’s homegrown professional theaters will stage an intriguing and ambitious mix of comedy, topical drama, world and regional premieres and, in several cases, a welcome look back at some of America’s smartest plays. We’ll encounter Euripides, Nazis, closeted Feds, gods and people who think they’re gods. We get twice as many plays by women as by men, including a double dip with Pearl Cleage in Hospice + Pointing at the Moon, two one-acts that are now a single piece, at the Alliance Theatre. This rich list of nine (Lady Day at Emerson’s Bar & Grill, Maytag Virgin and Angels in America have already come and gone) was culled from conversations, research, press releases, season brochures, a lifetime of theatergoing and some 40 years as a theater artist and/or arts journalist. We welcome — encourage even — your thoughts, comments and debate. ATLANTA’S PERFORMING ARTS PUBLICATION

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THE STAGES OF WINTER FEBRUARY The Followers; A Retelling of the Bacchae

THROUGH FEB. 25 | 7 Stages. The 38-year-old Little Five Points company looks to ancient Greece — 405 B.C., give or take — for its first production of 2018. Euripides’ The Bacchae delves into opposite sides of human nature: the rational, civilized side represented by the king of Thebes (Lowrey Brown) and the instinctive side represented by Dionysus, the god of wine and ecstasy (Ofir Nahari, a guest artist from Israel). 7 Stages’ telling, which qualifies as a world premiere, comes from Margaret Baldwin, an Atlanta playwright of note. It uses opera, dance, puppetry and physical theater to tell its story of blind faith, abuse of power and vengeance. Michael Haverty, the company’s co-artistic director, directs. Klimchak, an Atlanta music-maker who builds and plays unusual instruments, provides original music, with musical direction by Bryan Mercer and Nahari’s choreography. Back Stage Black Box. $15-$25. 1105 Euclid Ave. NE. Details, tickets at 404.523.7647 or www.7stages.org.

The Mystery of Love & Sex

THROUGH MARCH 11 | Out Front Theatre Company. Regional premiere. London-born playwright Bathsheba “Bash” Doran’s four-character drama is an unexpected love story about where souls meet and the consequences of growing up. Charlotte and Jonny have been best friends since age 9. She’s Jewish, he’s Christian; he’s black, she’s white. Their differences intensify their connection until sexual desire complicates everything. The play premiered in 2014 at New York’s Lincoln Center (“written with compassion and wry wisdom,” said The New York Times) and has played Chicago and Los Angeles. Doran also has written for television (“Boardwalk Empire,” “Masters of Sex,” “Smash”). Amber Bradshaw of Working Title Playwrights directs a cast comprising Donald McNamus, Tiffany Morgan, Terrance Smith and Rachel Wansker. The piece contains nudity. $20 + $25. 999 Brady Ave. in West Midtown. Details, tickets at 404.448.2755 or www.outfronttheatre.com.

King Hedley II

THROUGH MARCH 11 | True Colors Theatre Company. August Wilson (1945-2005) is one of the great American playwrights of any century, and remains a personal favorite. King Hedley II is part of his 10-play Century (or Pittsburgh) Cycle, all reflecting the black experience in 20th-century America. King (Neal A. Ghant) is an ex-con peddling stolen refrigerators in inner-city Pittsburgh in the 1980s. His goal: Buy a new business and thus, a new life. Surrounding him in his quest, for better or worse, are his wife, his mother, his mother’s ex-lover, his best friend and a neighbor named Stool Pigeon (Spelman College’s Eddie Bradley), a wise, Greek chorus-kind of character. Also in the cast: Tiffany Denise Hobbs, Tonia Jackson, E. Roger Mitchell and Eugene H. Russell IV). Some consider King Hedley II a tragedy of Shakespearean proportions. It seemed so in a mesmerizing production at the Alliance Theatre in 2003/04. Recommended for age 16 and up (language, content). $20-$35. Southwest Arts Center, 915 New Hope Road SW. Tickets online at Ticket Alternative or 877.725.8849. Details at truecolorstheatre.org.

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“ABSOLUTELY

THE NO.1 SHOW IN THE WORLD.”

—Kenn Wells, former lead dancer of the English National Ballet

Art that Connects Heaven & Earth ALL-NEW SHOW WITH LIVE ORCHESTRA

“ I’ve reviewed about 4,000 shows. None can compare to what I saw tonight.” —Richard Connema, renowned Broadway critic

“Demonstrating the highest realm in arts. arts.” —Chi Cao, principal dancer with the Birmingham Royal Ballet

“Absolutely the greatest of the great!

It must be experienced.” —Christine Walevska, “goddess of the cello”, watched Shen Yun 5 times

“This is the highest and best of what humans can produce.” —Oleva Brown-Klahn, singer and musician

“Awe-Inspiring!” “A MUST-SEE!” —

—Broadway World

“The 8th wonder of the world. People have no idea what they're missing until they come here and see the show.” —Joe Heard, former White House photographer, watched Shen Yun 6 times

APR 4-8, 2018

877-ATL-SHOW (285-7469) ShenYun.com/Atlanta

2800 Cobb Galleria Parkway, Atlanta, GA 30339

Prices: $80- $240

Cobb Energy Centre

Early bird code: Early18 Get best seats & waive fees by 1/15/2018


THE STAGES OF WINTER Perfect Arrangement

FEB. 22-MARCH 11 | Theatrical Outfit. Bob loves Jim, and Norma loves Millie. Both couples are masquerading as heterosexual during the Lavender Scare of the 1950s (when sexual “deviants” were targeted for dismissal from federal employment). Topher Payne, well-known to metro audiences (Angry Fags, The Only Light in Reno, Let Nothing You Dismay, Swell Party), won the 2014 American Theatre Critics Association Osborn Prize for his script, called “a clever canapé of a comedy” by The New York Times. It has played across the country and off-Broadway and although the Outfit run is its professional Atlanta premiere, it workshopped in its early days at the Process Theatre. The cast: Joe Knezevich (Bob), Clifton Guterman (Jim), Courtney Patterson (Norma), Ann Marie Gideon (Millie), plus Stacy Melich, Kevin Stillwell and Ann Wilson. Adam Koplan of New York’s Flying Carpet Theatre Company directs. Contains mature themes and content. $20.50-$49 (Feb. 22-23 previews a bit cheaper). Balzer Theater at Herren’s, 84 Luckie St. NW. Details, tickets at 678.528.1500 or www. theatricaloutfit.org.

MARCH Sheltered

MARCH 1-25 | Alliance Theatre at Actor’s Express. World premiere and winner of the 2018 Alliance/Kendeda National Graduate Playwriting Competition. New York-based playwright Alix Sobler’s suspense story, based on true events, takes place in 1939 as World War II begins in Europe. Two ordinary Philadelphians make an extraordinary decision: to bring 50 Jewish children from Nazi-occupied territory to safety in America. Kimberly Senior, a freelance director based in New York City, directs a cast comprising Lauren Boyd, Amanda Drinkall, Park Krausen, Lee Osorio and John Skelley. Recommended for age 12 and up. The Alliance’s annual Kendeda Week, featuring staged readings of four competition runners-up, is one of the highlights of Atlanta’s theatrical season. The readings (not Sheltered) are free. Don’t miss out! $42; $10 teens. Actor’s Express in the King Plow Arts Center, 887 West Marietta St. NW in West Midtown. Details, tickets at 404.733.5000 or alliancetheatre.org.

Hospice + Pointing at the Moon

MARCH 23-APRIL 15. Alliance Theatre at the Southwest Arts Center. A world premiere, of sorts. Pearl Cleage, the Alliance’s playwright-in-residence, gives us two one-acts that follow a woman named Jenny as she deals with unresolved questions from her past. In Hospice, she confronts the approaching death of her estranged mother. Her story continues some 30 years later in the brand-new Pointing at the Moon, which takes place immediately after the 2016 presidential election. Jenny, now a respected scholar and literary critic, is reluctantly drawn into the swirl of political and cultural changes and must choose between her comfortable life and her deeply held beliefs. Hospice, which premiered in 1983, won five AUDELCO awards for achievement off-Broadway; Pointing at the Moon is a world premiere. The cast adds to the excitement of a new piece: Atlantabased actors Terry Burrell (Ethel, Cinderella and Fella, Lady Day at Emerson’s Bar & Grill) and Tinashe Kinjese (Disgraced, Blues for an Alabama Sky). Timothy Douglas, a New York-based director/actor/ writer/educator, directs. $20-$45 (previews cheaper); $10 teens. The Southwest Arts Center is at 915 New Hope Road SW. Details, tickets at 404.733.5000 or alliancetheatre.org. 10 ENCOREATLANTA.COM


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THE STAGES OF WINTER The Harvey Milk Show

MARCH 9-10 | Actor’s Express at St. Mark United Methodist Church. Welcome home, Chris Coleman. The return of Actor’s Express’ cofounder and longtime artistic director is, indeed, reason to rejoice. He’s back for a two-night-only concert version of The Harvey Milk Show (done at AE in 1992 with Coleman in the title role). Harvey Milk was the first openly gay elected official in San Francisco, serving on the board of supervisors for 11 months before his assassination on Nov. 27, 1978, at age 48. Coleman helped create the Express in 1988 and led the company until 2000, when he became artistic director at Portland Center Stage in Oregon. In May, he becomes artistic director at the Denver Center for the Performing Arts. The concert is part of the Express’ 30th-anniversary-season celebration. $55. Post-show cocktail party with Coleman on Saturday is an additional $50. St. Mark is at 781 Peachtree St. NE. Details, tickets at 404.607.7469 or www.actors-express.com.

APRIL Ripe Frenzy

APRIL 13-MAY 6 | Synchronicity Theatre. This world premiere by Jennifer Barclay won the National New Play Network’s 2016 Smith Prize for political theater. It brings us to Tavistown, N.Y., where a recent tragedy has shaken the small community. Zoe, our narrator and the town historian, recounts the days leading to the incident, as the high school prepares for its semiannual production of Thornton Wilder’s Our Town. Barclay, an actor-turned-playwright formerly based in Chicago and California, is now on the faculty at the University of Maryland. Atlanta-based A-listers Cynthia D. Barker, Megan Cramer (Georgia Shakespeare back in the day) and Taylor M. Dooley (Aurora Theatre’s Burnpile) lead the cast, with artistic director Rachel May directing. $27-$31 (previews cheaper; swanky seat upgrades available). Synchronicity is in the One Peachtree Pointe building, 1545 Peachtree St. NE. Details, tickets at 404.484.8636 or www.synchrotheatre.com.

The Flower Room T H E F LOW E R ROOM BY

DARYL LISA FAZIO

APR 21-MAY 13, 2018

APRIL 21-MAY 13 | Actor’s Express. World premiere. Atlanta playwright Daryl Lisa Fazio’s comedy, part of AE’s 2016 Threshold Festival of New Plays, now gets a full staging. It follows Ingrid (Stacy Melich), an uptight academic who researches sexual behavior in primitive cultures while remaining completely closed off from her own sexual self. When she loses her university job, she writes erotica to pay the bills — unleashing her own journey of, well, discovery. Melissa Foulger directs a cast that includes Matthew Busch (The Thrush and the Woodpecker), Eliana Marianes and Joshua Quinn. $31-$44 (previews cheaper, opening night most expensive). King Plow Arts Center, 887 West Marietta St. NW. Details, tickets at 404.607.7469 or www.actors-express.com.

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ARTFULLY YOURS Whether it’s music from the movies or the classical masters with the LaGrange Symphony Orchestra, a classic ballet at the Lafayette Society for the Performing Arts, or your favorite Broadway-style production onstage at LaGrange College’s Price Theatre, you can enjoy a full season of performing arts in our community. Just a short drive from Atlanta, visit LaGrange where you can escape the humdrum of everyday life. Plan your journey our way at

visitlagrange.com 706.884.8671


battle

ZONE

Alvin Ailey American Dance Theater leader Robert Battle looks to the past — 1960, the 1980s, 2004 — to entertain, provoke and inform the future.

PAUL KOLNIK

By Julie Bookman

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A choral performance of Verdi’s Requiem at Carnegie Hall inspired Mass, created by artistic director Robert Battle. Alvin Ailey American Dance Theater is doing it for the first time.

“A

lmost spiritual.” That’s how Robert Battle, artistic director of the pre-eminent modern dance company, describes Atlanta’s passion for Alvin Ailey American Dance Theater. “The love and electricity we feel is the kind of excitement and commitment that’s usually reserved for pop culture — like for rock stars,” he says. For this visit, the 32-member company — in which no one is considered a star yet every dancer is star material — brings 13 pieces to parcel out in various combinations over six performances. To see all 13, you’d need to attend four shows. What you can count on at all is plenty of powerful, athletic dance. And no worries about missing the world-famous Revelations. Every program ends with the spirit-rousing, visually arresting 1960 gospel ballet by founder Alvin Ailey. “Revelations is a light in a dark place,” Battle says. “As we look at this world and our country, ATLANTA’S PERFORMING ARTS PUBLICATION

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PAUL KOLNIK

ANDREW ECCLES

Revelations gives us a sense that tomorrow the sun will shine.” Battle became the third artistic director in the company’s 60-year history in 2011. He was chosen by Judith Jamison to lead the nation’s most prestigious repertory company rooted in African-American dance. Jamison, herself, was chosen by Ailey before his death at age 58 in 1989. Ailey’s 2016 national tour featured two major Battle works: Awakenings and No Longer Silent. This trip he’s represented by Mass, a new ballet for Ailey but one he created in 2004 at The Julliard School. Mass was inspired when Battle attended a choral performance of Verdi’s Requiem at Carnegie Hall. Everything TOP: Jawole Willa Jo from the logistics of the performance to the escalating nature Zollar’s Shelter, a piece and power of the work captivated him. about homelessness. “I found myself inspired by the sort pageantry of a chorus ABOVE: Robert Battle of a hundred people, even how they entered in a somber way, and the precise way they organized themselves on the risers, the juxtaposition of it all. When they sang, the juxtaposition was their voice, like a passport to the world that could travel freely.” The choir leader “was almost like the preacher figure or chosen one born out of the mass. I found myself thinking about it all — the individual, the group or huddled mass, the chosen one freeing himself from the group.” Was that an unlikely setting in which to find a new dance? No, says Battle, “because you never know. It’s not the thing itself, but the journey to the thing that becomes the inspiration that needs to be born into the world. That’s how my brain works.”


In recent coverage of Ailey’s repertoire, The New York Times observed that the 16 dancers in Mass “worked themselves up wonderfully into astounding vigor.” Battle’s choreography often features sharp, ritualistic movements and intricate patterns. Of the many phrases used to describe his style, he’s most comfortable endorsing one: “rapid-fire” movement. “My last name is Battle,” he says, “and I think that says it all.” As always, Ailey audiences can expect to experience some social consciousness. One highlight is likely to be Shelter, created in 1988 by Jawole Willa Jo Zollar, founder and artistic director of Urban Bush Women, the Brooklyn-based company whose works often illuminate the lives of the disenfranchised. Ailey first performed the 22-minute work, a hard-hitting interpretation on homelessness “through the lens of displacement,” 25 years ago; this marks its first revival in 15 years. Zollar created the piece to respond to the extent of homelessness in New York City. “It was so hard for me to believe that in a country of such wealth, that we could so easily become this,” she says. One day she found herself stepping over a homeless person. “When it became normal and didn’t have any impact — when I stopped seeing it — that is when I thought we were losing portions of our humanity.” The piece, performed by six women, builds in distress and “in the willpower and resilience to say ‘I’m going to survive,’ ” Zollar says. Since she created the piece, the homeless population in New York City has tripled to 63,000, according to a recent estimate cited by NBC. (Georgia has about 14,000 homeless, according to a 2015 study. Nationwide, more than half a million people experience homelessness on any given night, reports the National Alliance to End Homelessness). Battle wanted to bring Shelter back now because he sees its relevance expanding. “Because of the state of affairs in our country, I think we’re having to think about shelter and protection in I-6

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PAUL KOLNIK

The New Yorker magazine described Twyla Tharp’s The Golden Section as ”daring, driving choreography with breathtaking leaps.”“driving


Jawole Willa Jo Zollar created Shelter in 1988 after she found herself stepping over a homeless person on the streets of New York. Its relevance has only expanded.

larger ways,” he says. “There’s a real fear out there of needing shelter from the very laws that are supposed to protect you.” At least two other pieces in Ailey’s 2018 lineup date to the 1980s. Battle offers a bit of insight on each: • Twyla Tharp’s The Golden Section, 1983. Set to a New Wave rock score by David Byrne, this 16-minute piece was originally the finale to Tharp’s The Catherine Wheel, an acclaimed 1981 dance project; two years later it became a stand-alone piece “celebrated for its pure-dance expression of blissful joy.” Ailey dancers first tackled the demanding work in 2006. The New Yorker described the restaging as “daring, driving choreography with breathtaking leaps.” “Twyla Tharp is a genius and The Golden Section is very powerful, but also very different for us because it shows our versatility and ability to take a Twyla piece and make it our own,” Battle says. The work “refers to the spirit of the sun, but it’s really about hope.” • Stack-Up, created by Talley Beatty in 1982. Stack-Up examines “an urban landscape and all the things that can happen within that context,” says Battle. More plot-driven that most Ailey pieces, it’s a colorful, energetic number of “physical pyrotechnics” done to a throbbing disco vibe. “Compared to something like Shelter, you could call this one happy. But it has a twist at the end.” Get set for sass, attitude, athletic aerobics and the sounds of artists from the Fearless Four and Grover Washington Jr., to Earth, Wind & Fire. Experience an Alvin Ailey performance, and you’re in for remarkable dance fetes, along with a wide range of themes, moods and emotions. After all, says Battle, “the black experience is not a one-note samba.”

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Alvin Ailey, Founder Judith Jamison, Artistic Director Emerita

Robert Battle, Artistic Director Masazumi Chaya, Associate Artistic Director COMPANY MEMBERS Hope Boykin Jeroboam Bozeman Clifton Brown Sean Aaron Carmon Sarah Daley-Perdomo Ghrai DeVore Solomon Dumas Samantha Figgins Vernard J. Gilmore Jacqueline Green Daniel Harder

Jacquelin Harris Collin Heyward Michael Jackson Jr. Megan Jakel Yannick Lebrun Renaldo Maurice Ashley Mayeux Michael Francis McBride Rachael McLaren Chalvar Monteiro Akua Noni Parker

Danica Paulos Belén Pereyra-Alem Jamar Roberts Samuel Lee Roberts Kanji Segawa Glenn Allen Sims Linda Celeste Sims Constance Stamatiou Jermaine Terry Fana Tesfagiorgis

Matthew Rushing, Rehearsal Director and Guest Artist

Bennett Rink, Executive Director Major funding for Alvin Ailey American Dance Theater 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; Bank of America; BET Networks; Bloomberg Philanthropies; BNY Mellon; Delta Air Lines; Diageo, North America; Doris Duke Charitable Foundation; FedEx; Ford Foundation; Howard Gilman Foundation; The William R. Kenan, Jr. Charitable Trust; The Prudential Foundation; The SHS Foundation; The Shubert Foundation; Southern Company; Target; The Wallace Foundation; and Wells Fargo.

Proud Ailey Engagement Sponsor

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PROGRAM WEDNESDAY, FEB. 14, 2018, at 8 PM STACK-UP (1982) Choreography by Talley Beatty Restaged by Masazumi Chaya Music by various artists Costumes by Carol Vollet Kingston Décor adapted from “Under the Bridge” a painting by Romare Bearden Lighting by Chenault Spence Renaldo Maurice, Clifton Brown, Rachael McLaren, Samantha Figgins, Michael Francis McBride, Ghrai DeVore, Daniel Harder, Chalvar Monteiro, Solomon Dumas, Fana Tesfagiorgis, Ashley Mayeux, Jeroboam Bozeman, Collin Heyward, Belén Pereyra-Alem, Kanji Segawa, Danica Paulos, Sean Aaron Carmon This new production of Stack-Up is made possible with generous support from The Honorable Amalya L. Kearse. Chicago native Talley Beatty (1918–95) became a principal dancer with the Katherine Dunham Company at age 16. After touring with the Dunham Company for five years and appearing in Broadway shows such as Cabin in the Sky, Pins and Needles and Blue Holiday, Mr. Beatty formed his own company and toured throughout Europe, the United States and Canada. Dance companies around the world, including Dance Theatre of Harlem, Kohn Opera Ballet Company, Stockholm Dance Theatre and Alvin Ailey American Dance Theater have mounted his ballets. Mr. Beatty passed away on April 29, 1995. “Faces” written by Philip Bailey, Lorenzo Dunn, Verdine White, and Maurice White. Use by permission of EMI April Music Inc. All rights reserved. ASCAP (100%) Performed by Earth, Wind and Fire. “Aubrey” written by David Gates. Used with permission of Kipahulu Music. Performed by Grover Washington, Jr. “Rockin’ It” composed by Darryll Barksdale, Morgan Robinson, Karl Bartos, Ralf Huetter, and Bobby Robinson. Published by Spirit One Music, Inc. o/b/o Quoin Music. Used by permission of Kling Klang Musik Gmbh, and Bobby Robinson Sweet Soul Music, Inc. All rights reserved. © 2008 Positive Songs Edition (GEMA), Hanseatic Musikverlag Gmbh & Co. KG (GEMA). All rights on behalf of Positive Songs Edition and Hanseatic Musikverlag Gmbh & Co. KG, administered by WB Music Corp. (ASCAP) All rights reserved. Performed by Fearless Four. “Get Up and Dance” written and performed by Alphonze Mouzon. Controlled by Mouzon Music Publishing.

— INTERMISSION — Excerpt from THE WINTER IN LISBON (1992) Choreography by Billy Wilson Restaged by Masazumi Chaya Music by Charles Fishman and Dizzy Gillespie Costumes by Barbara Forbes Lighting by Chenault Spence Jacqueline Green, Jamar Roberts This production of The Winter in Lisbon is made possible by The Ellen Jewett & Richard L. Kauffman New Works Endowment Fund. Billy Wilson (1935–94) was one of the most versatile and stylish forces in the worlds of dance and Broadway. After a celebrated commercial and classical ballet career dancing and living in Europe for more than a decade, he returned to the United States to focus on choreographing. Mr. Wilson choreographed eight shows for Broadway; three of which garnered him Tony nominations (Bubbling Brown Sugar, Guys and Dolls and Eubie!). In the ’80s he created ballets, working extensively with Philadanco, Dance Theatre of Harlem and Alvin Ailey American Dance Theater, while continuing to create in Europe and for television. The ballets Rosa, Mirage and Concerto In F are among his most beloved creations. The Winter In Lisbon continues to celebrate Mr. Wilson’s spirit with its colorful tribute to the late Dizzy Gillespie’s music. I-10 ENCOREATLANTA.COM


PROGRAM “Lisbon,” by Dizzy Gillespie and musical arrangements by Slide Hampton. Used by permission of Music Sales Corp. (ASCAP) 66.667% All rights reserved. International copyright secured.

— PAUSE — ELLA (2008, Ailey premiere 2016) Choreography by Robert Battle Restaged by Marlena Wolfe Music performed by Ella Fitzgerald Costumes by Jon Taylor Lighting by Burke Wilmore

Samantha Figgins, Chalvar Monteiro

Michael Francis McBride, Samuel Lee Roberts, Solomon Dumas “Airmail Special” recorded by Ella Fitzgerald

— PAUSE — Excerpt from SHINING STAR (2004) Choreography by David Parsons Music by Earth, Wind & Fire Costumes by Ann Hould-Ward Lighting by Howell Binkley Linda Celeste Sims, Glenn Allen Sims Shining Star was commissioned by Sandy Weill in honor of his wife, Joan, and her extraordinary commitment and dedication to Alvin Ailey American Dance Theater. This work was created through the Ailey New Works Fund, supported by Altria Group, Inc. This work was supported by the Ailey New Choreography Initiative, sponsored by AT&T. Shining Star was also made possible, in part, with public funds from the New York State Council on the Arts. Special support has been provided by the Kansas City Friends of Alvin Ailey through the generosity of the Arvin Gottlieb Charitable Foundation and the Muriel McBrien Kauffman Foundation. Born in Chicago and raised in Kansas City, David Parsons enjoys a career as a choreographer, teacher, director, and producer. He was a lead dancer with the Paul Taylor Dance Company and in 1987 founded The Parsons Dance Company with lighting designer Howell Binkley. Mr. Parsons has created more than 70 works for his company and received commissions from American Ballet Theatre, Paul Taylor Dance Company, New York City Ballet, Het Muziektheater in Amsterdam, and Alvin Ailey American Dance Theater. His work has been performed by the Paris Opera Ballet, Jo rey Ballet, Nederlands Dans Theatre, English National Ballet, Hubbard Street Dance Company, and Batsheva Dance Company of Israel, among others. Mr. Parsons is a recipient of the 2000 Dance Magazine Award. In 2001 he received an American Choreography Award for his work as a co-producer of Aeros, a production featuring the Romanian Gymnastic Federation, which premiered on the Bravo channel. In 1999 Mr. Parsons choreographed and directed the dance elements for Times Square 2000, the 24hour festivities in New York celebrating the turn of the millennium. Music courtesy of Earth, Wind & Fire from the collection Earth, Wind & Fire Greatest Hits. “That’s the Way of the World” (M. White-C. Stepney-V. White) – published by EMI Music Publishing & Eibur Music.

— INTERMISSION — ATLANTA’S PERFORMING ARTS PUBLICATION

I-11


PROGRAM REVELATIONS (1960) Choreography by Alvin Ailey Music by Traditional Décor and Costumes by Ves Harper Costumes for “Rocka My Soul” redesigned by Barbara Forbes Lighting by Nicola Cernovitch PILGRIM OF SORROW The Company

I Been ’Buked

Music arranged by Hall Johnson*

Jeroboam Bozeman, Hope Boykin, Fana Tesfagiorgis

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

Jacqueline Green, Jamar Roberts

Fix Me, Jesus

Music arranged by Hall Johnson*

TAKE ME TO THE WATER Renaldo Maurice, Megan Jakel, Solomon Dumas, Sean Aaron Carmon

Processional/Honor, Honor Music adapted and arranged by Howard A. Roberts

Linda Celeste Sims, Glenn Allen Sims, Constance Stamatiou

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

Clifton Brown

I Wanna Be Ready

Music arranged by James Miller+

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

Samuel Lee Roberts, Sean Aaron Carmon, Michael Francis McBride

The Day Is Past and Gone

The Company

You May Run On

The Company

Rocka My Soul in the Bosom of Abraham

The Company

Music arranged by Howard A. Roberts and Brother John Sellers Music arranged by Howard A. Roberts and Brother John Sellers 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 Corp., 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.

I-12 ENCOREATLANTA.COM


PROGRAM THURSDAY, FEB. 15, 2018, at 8 PM and

SATURDAY, FEB. 17, 2018, at 2 PM EPISODES (1987, Ailey premiere 1989) Choreography by Ulysses Dove Restaged by Masazumi Chaya Original music by Robert Ruggieri Costumes by Jorge Gallardo Lighting by John B. Reade

Clifton Brown, Sean Aaron Carmon, Jermaine Terry, Michael Francis McBride, Daniel Harder, Rachael McLaren, Sarah Daley-Perdomo, Megan Jakel, Jacqueline Green Support for this production was provided, in part, by AT&T. The original production of this work was made possible, in part, with public funds from the National Endowment for the Arts, the New York State Council on the Arts, and by a generous grant from The Harkness Foundation for 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 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. Original music by Robert Ruggieri. Used with permission.

— INTERMISSION —

Rachael McLaren and Glenn Allen Sims in Ulysses Dove's Episodes. Photo by Francette Levieux ATLANTA’S PERFORMING ARTS PUBLICATION I-13


PROGRAM THE GOLDEN SECTION (1983, Ailey premiere 2006) Choreography by Twyla Tharp Restaged by Shelley Washington Music composed and performed by David Byrne Costume design by Santo Loquasto Lighting design by Jennifer Tipton

Rachael McLaren, Jacquelin Harris, Jacqueline Green, Danica Paulos, Sarah Daley-Perdomo, Constance Stamatiou, Jamar Roberts, Clifton Brown, Chalvar Monteiro, Glenn Allen Sims, Michael Jackson, Jr., Michael Francis McBride, Jeroboam Bozeman This new production of The Golden Section is made possible with major support from The Jaharis Family Foundation. In 1965 Twyla Tharp formed Twyla Tharp Dance and has created more than 125 works to date. She has also choreographed for American Ballet Theatre, Paris Opera Ballet, The Royal Ballet, New York City Ballet, Boston Ballet, The Joffrey Ballet, Hubbard Street Dance and Martha Graham Dance Company. Ms. Tharp’s Broadway credits include When We Were Very Young, The Catherine Wheel, Singin’ In The Rain and Movin’ Out. She collaborated in film on Hair, Ragtime, Amadeus, White Nights and I’ll Do Anything. Ms. Tharp is the author of books Push Comes To Shove and The Creative Habit: Learn It And Use It For Life.

— PAUSE — CRY (1971) Choreography by Alvin Ailey Restaged by Masazumi Chaya Choreography coaching by Judith Jamison and Donna Wood Sanders Music by Alice Coltrane, Laura Nyro, and Chuck Griffin Costume by A. Christina Giannini Lighting by Chenault Spence For all Black women everywhere – especially our mothers. THURSDAY, FEB. 15, 2018, at 8 PM Linda Celeste Sims SATURDAY, FEB. 17, 2018, at 2 PM Akua Noni Parker This production of Cry was made possible with generous support from Judith McDonough Kaminski & Joseph Kaminski. The original production of Cry was made possible, in part, by a grant from Ford Foundation. “Something About John Coltrane” written by Alice Coltrane. Published by Jowcol Music. “Been on a Train” 100% Laura Nyro (BMI) – EMI Blackwood Music Inc. (BMI). © 1971 EMI Blackwood Music Inc. All rights administered by Sony/ATV Music Publishing LLC., 424 Church Street, Suite 1200, Nashville, TN 37219. All rights reserved. Used by permission. “Right On, Be Free” written by Chuck Griffin, performed by The Voices of East Harlem. Used with permission of the publisher, Really Together Music.

— INTERMISSION — I-14 ENCOREATLANTA.COM


PROGRAM THURSDAY, FEB. 15, 2018, at 8 PM

REVELATIONS (1960) Choreography by Alvin Ailey Music by Traditional Décor and Costumes by Ves Harper Costumes for “Rocka My Soul” redesigned by Barbara Forbes Lighting by Nicola Cernovitch PILGRIM OF SORROW The Company

I Been ’Buked

Music arranged by Hall Johnson*

Kanji Segawa, Belén Pereyra-Alem, Fana Tesfagiorgis

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

Akua Noni Parker, Yannick Lebrun

Fix Me, Jesus

Music arranged by Hall Johnson*

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

Michael Francis McBride, Danica Paulos, Jermaine Terry, Jeroboam Bozeman Constance Stamatiou, Michael Jackson Jr., Jacqueline Green

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

Vernard J. Gilmore

I Wanna Be Ready

Music arranged by James Miller+

MOVE, MEMBERS, MOVE Jeroboam Bozeman, Jermaine Terry, Samuel Lee Roberts

Sinner Man Music adapted and arranged by Howard A. Roberts

The Day Is Past and Gone

The Company

You May Run On

The Company

Rocka My Soul in the Bosom of Abraham

The Company

Music arranged by Howard A. Roberts and Brother John Sellers Music arranged by Howard A. Roberts and Brother John Sellers 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 Corp., 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.

ATLANTA’S PERFORMING ARTS PUBLICATION I-15


PROGRAM SATURDAY, FEB. 17, 2018, at 2 PM

REVELATIONS (1960) Choreography by Alvin Ailey Music by Traditional Décor and Costumes by Ves Harper Costumes for “Rocka My Soul” redesigned by Barbara Forbes Lighting by Nicola Cernovitch PILGRIM OF SORROW The Company

I Been ’Buked

Music arranged by Hall Johnson*

Collin Heyward, Belén Pereyra-Alem, Fana Tesfagiorgis

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

Sarah Daley-Perdomo, Glenn Allen Sims

Fix Me, Jesus

Music arranged by Hall Johnson*

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

Kanji Segawa, Samantha Figgins, Collin Heyward, Sean Aaron Carmon Ghrai DeVore, Vernard J. Gilmore, Constance Stamatiou

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

Daniel Harder

I Wanna Be Ready

Music arranged by James Miller+

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

Jeroboam Bozeman, Jermaine Terry, Samuel Lee Roberts

The Day Is Past and Gone

The Company

You May Run On

The Company

Rocka My Soul in the Bosom of Abraham

The Company

Music arranged by Howard A. Roberts and Brother John Sellers Music arranged by Howard A. Roberts and Brother John Sellers 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 Corp., 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.

I-16 ENCOREATLANTA.COM


PROGRAM FRIDAY, FEB. 16, 2018, at 8 PM r-Evolution, Dream. (2016)

Choreography by Hope Boykin Music by Ali Jackson Narration recorded by Leslie Odom Jr. Rehearsal Assistants: Elise Drew, Michael Jackson Jr. Costume Design by Hope Boykin Costume Project Manager: Zinda Williams Lighting by Al Crawford Phil. 4:13 Matthew Rushing, Collin Heyward, Belén Pereyra-Alem, Daniel Harder, Jermaine Terry, Constance Stamatiou, Kanji Segawa, Danica Paulos, Solomon Dumas, Yannick Lebrun, Jacqueline Green, Ghrai DeVore,Samuel Lee Roberts, Fana Tesfagiorgis, Chalvar Monteiro The creation of r-Evolution, Dream. was supported by commissioning funds from The Music Center. Major support for the creation of r-Evolution, Dream. was provided by Ethel Klein & Edward Krugman. Additional support was also provided by Natasha I. Leibel, M.D. & Harlan B. Levine, M.D., Judith McDonough Kaminski & Joseph Kaminski, Addie & Tom Jones, Elaine & Lawrence Rothenberg, The Jeanne Greenberg Rohatyn & Nicolas Rohatyn New Works Endowment Fund, The Fred Eychaner New Works Endowment Fund, and The Kansas City Friends of Alvin Ailey – Sara and Bill Morgan New Works Endowment Fund. Original composition by Ali Jackson. Narration by Leslie Odom Jr. Original lyrics by Hope Boykin. Excerpts from “The Negro’s Complaint” by William Cowper; “False Greatness” by Issac Watts; “Sonnet 16” by William Shakespeare; “The Best of Whatever You Are” by Douglas Malloch; “If I Can Help Somebody As I Pass Along” by Alma Irene Bazel. By arrangement with Boosey & Hawkes Inc; “Lift Every Voice and Sing,” from LIFT EVERY VOICE AND SING by James Weldon Johnson, copyright 1935 by James Weldon Johnson; copyright renewed © 1963 by Grace Nail Johnson. Used by permission of Penguin Books, an imprint of Penguin Publishing Group, a division of Penguin Random House, LLC. This work may not be acted in whole or in part by amateurs or professionals without formal permission and the payment of a royalty. All inquiries should be addressed to Penguin Random House, LLC.

— INTERMISSION — SHELTER (1988, Ailey premiere 1992)

Choreography by Jawole Willa Jo Zollar Rehearsal Assistants: Maria Bauman, Jaimé Dzandu, Marjani Forté, Paloma McGregor, Samantha Speis, Bennalldra Williams Music by Junior “Gabu” Wedderburn and Victor See Yuen Texts by Hattie Gossett, Carl Hancock Rux, Laurie Carlos, Paloma McGregor, and Jawole Willa Jo Zollar Text recorded by Carl Hancock Rux and Jawole Willa Jo Zollar Lighting by Susan Hamburger Ashley Mayeux, FanaTesfagiorgis, Danica Paulos, Hope Boykin, Belén Pereyra-Alem, Constance Stamatiou This new production of Shelter is made possible with major support from American Express. Jawole Willa Jo Zollar is the founding artistic director of Urban Bush Women (UBW). Founded in 1984, UBW is based in Brooklyn, New York, and is an internationally recognized performance ensemble that creates and performs original dance–theater works. Her work is geared toward building equity in the arts. Zollar earned a B.A. degree in dance from the University of Missouri at Kansas City and an M.F.A. in dance from Florida State University, where she currently teaches. Zollar has received ATLANTA’S PERFORMING ARTS PUBLICATION I-17


PROGRAM a USA Wynn Fellowship and a John Simon Guggenheim Memorial Fellowship. Zollar was awarded the 2013 Arthur L. Johnson Memorial Award by Sphinx Music. She has received the Doris Duke Performing Artist Award and honorary degrees from Columbia College–Chicago, Tufts University and Rutgers University. Zollar received the 2016 Dance Magazine Award and the 2016 Dance/USA Honor Award. Recently, she received a 2017 Bessie Award for Lifetime Achievement in Dance. “Between a Rock and a Hard Place at the Intersection of Reduced Resources and Reverberating Rage” by Hattie Gossett. “Elmina Blues Opus 3 (Pigin Drum Song)” by Carl Hancock Rux. “Belongo” by Laurie Carlos. “Are You Listening” by Paloma McGregor and Jawole Willa Jo Zollar.

— PAUSE — THE HUNT (2001, Ailey premiere 2010)

Choreography by Robert Battle Assistant to the Choreographer: Erika Pujikic Music by Les Tambours du Bronx Costumes by Mia McSwain Lighting by Burke Wilmore Jermaine Terry, Daniel Harder, Samuel Lee Roberts, Yannick Lebrun, Jeroboam Bozeman, Kanji Segawa Generous support for this production was provided by The Pamela D. Zilly and John H. Schaefer New Works Endowment Fund, Linda Stocknoff, and Ricki N. Lander & Robert K. Kraft. “Jungle Jazz” by L. Blomme, performed by Les Tambours du Bronx. “Les Boulets Se Rebiffent” by A. Dipace, J.Y. Lefloch, Y. Nisgand, B. Pingon, and J.M. Tramoy, performed by Les Tambours du Bronx. “Black Bull” by L. Le Mapihan, performed by Les Tambours du Bronx. Music from the recording Silence (1999). Used with permission by Right Bank Music Inc.

— INTERMISSION — REVELATIONS (1960) Choreography by Alvin Ailey Music by Traditional Décor and Costumes by Ves Harper Costumes for “Rocka My Soul” redesigned by Barbara Forbes Lighting by Nicola Cernovitch PILGRIM OF SORROW The Company

I Been ’Buked

Music arranged by Hall Johnson*

Jermaine Terry, Hope Boykin, Fana Tesfagiorgis

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

Akua Noni Parker, Clifton Brown

Fix Me, Jesus

Music arranged by Hall Johnson*

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

Wade in the Water

Samuel Lee Roberts, Samantha Figgins, Collin Heyward, Solomon Dumas Linda Celeste Sims, Glenn Allen Sims, Ashley Mayeux

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-18 ENCOREATLANTA.COM


PROGRAM Vernard J. Gilmore

I Wanna Be Ready

Music arranged by James Miller+

MOVE, MEMBERS, MOVE Solomon Dumas, Chalvar Monteiro, Kanji Segawa

Sinner Man Music adapted and arranged by Howard A. Roberts

The Day Is Past and Gone

The Company

You May Run On

The Company

Rocka My Soul in the Bosom of Abraham

The Company

Music arranged by Howard A. Roberts and Brother John Sellers Music arranged by Howard A. Roberts and Brother John Sellers 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 Corp., 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.

SATURDAY, FEB. 17, 2018, at 8 PM and

SUNDAY, FEB. 18, 2018, at 3 PM STACK-UP (1982) Choreography by Talley Beatty Restaged by Masazumi Chaya Music by various artists Costumes by Carol Vollet Kingston Décor adapted from “Under the Bridge” a painting by Romare Bearden Lighting by Chenault Spence SATURDAY, FEB. 17, 2018, at 8 PM Yannick Lebrun, Jamar Roberts, Constance Stamatiou, Rachael McLaren, Daniel Harder, Jacquelin Harris, Samuel Lee Roberts, Michael Francis McBride, Sean Aaron Carmon, Akua Noni Parker, Jacqueline Green, Jermaine Terry, Michael Jackson Jr., Megan Jakel, Solomon Dumas, Sarah Daley-Perdomo, Chalvar Monteiro SUNDAY, FEB. 18, 2018, at 3 PM Renaldo Maurice, Clifton Brown, Rachael McLaren, Samantha Figgins, Michael Francis McBride, Ghrai DeVore, Daniel Harder, Chalvar Monteiro, Solomon Dumas, Fana Tesfagiorgis, Ashley Mayeux, Jeroboam Bozeman, Collin Heyward, Belén Pereyra-Alem, Kanji Segawa, Danica Paulos, Sean Aaron Carmon This new production of Stack-Up is made possible with generous support from The Honorable Amalya L. Kearse. Chicago native Talley Beatty (1918–95) became a principal dancer with the Katherine Dunham Company at age 16. After touring with the Dunham Company for five years and appearing in Broadway shows such as Cabin in the Sky, Pins and Needles and Blue Holiday, Mr. Beatty formed his own company and toured throughout Europe, the United States and Canada. Dance companies around the world, including Dance Theatre of Harlem, Kohn Opera Ballet Company, Stockholm Dance Theatre and Alvin Ailey American Dance Theater have mounted his ballets. Mr. Beatty passed away on April 29, 1995. “Faces” written by Philip Bailey, Lorenzo Dunn, Verdine White, and Maurice White. Use by permission of EMI April Music Inc. All rights reserved. ASCAP (100%) Performed by Earth, Wind and Fire. “Aubrey” written by David Gates. Used with permission of Kipahulu Music. Performed by Grover Washington, Jr. “Rockin’ It” comATLANTA’S PERFORMING ARTS PUBLICATION I-19


PROGRAM posed by Darryll Barksdale, Morgan Robinson, Karl Bartos, Ralf Huetter, and Bobby Robinson. Published by Spirit One Music Inc. o/b/o Quoin Music. Used by permission of Kling Klang Musik Gmbh, and Bobby Robinson Sweet Soul Music Inc. All rights reserved. © 2008 Positive Songs Edition (GEMA), Hanseatic Musikverlag Gmbh & Co. KG (GEMA). All rights on behalf of Positive Songs Edition and Hanseatic Musikverlag Gmbh & Co. KG, administered by WB Music Corp. (ASCAP) All rights reserved. Performed by Fearless Four. “Get Up and Dance” written and performed by Alphonze Mouzon. Controlled by Mouzon Music Publishing.

— INTERMISSION — MASS (2004, Ailey premiere 2017) Choreography by Robert Battle Restaged by Elisa Clark Music by John Mackey Music Direction by Damien Bassman Costumes by Fritz Masten Lighting by Burke Wilmore

SATURDAY, FEBRUARY 17, 2018, at 8 PM Jeroboam Bozeman, Rachael McLaren, Jacquelin Harris, Sarah Daley-Perdomo, Kanji Segawa, Danica Paulos,Constance Stamatiou, Renaldo Maurice, Samuel Lee Roberts, Belén Pereyra-Alem, Michael Francis McBride, Hope Boykin, Megan Jakel, Yannick Lebrun, Jamar Roberts, Jermaine Terry SUNDAY, FEBRUARY 18, 2018, at 3 PM Jacqueline Green, Samantha Figgins, Danica Paulos, Ashley Mayeux, Solomon Dumas, Belén Pereyra-Alem, Fana Tesfagiorgis, Michael Francis McBride, Chalvar Monteiro, Daniel Harder, Sean Aaron Carmon, Ghrai DeVore, Akua Noni Parker, Jermaine Terry, Michael Jackson Jr., Collin Heyward “Mass” original composition by John Mackey. Percussionists: Damien Bassman, Michael Croiter, Michael Dobson, David Mancuso, Ray Marchica, and Jonathan Singer.

— PAUSE — IN/SIDE (2008, Ailey premiere 2009) Choreography by Robert Battle Music performed by Nina Simone Lighting by Burke Wilmore

SATURDAY, FEB. 17, 2018, at 8 PM Solomon Dumas SUNDAY, FEB. 18, 2018, at 3 PM Samuel Lee Roberts “Wild Is The Wind” words by Ned Washington, music by Dimitri Tiomkin © 1957, renewed 1985 Patti Washington Music (ASCAP), Catharine Hinen Music (ASCAP), Chappell & Co. Inc. (ASCAP), Anne Rachel Music Corp. (ASCAP) and Volta Music Corp (ASCAP). Catharine Hinen Music is administered exclusively for use by Joma Music Group Inc. Used by permission. All rights reserved.

— INTERMISSION — I-20 ENCOREATLANTA.COM


PROGRAM ELLA (2008, Ailey premiere 2016) Choreography by Robert Battle Restaged by Marlena Wolfe Music performed by Ella Fitzgerald Costumes by Jon Taylor Lighting by Burke Wilmore

SATURDAY, FEBRUARY 17, 2018, at 8 PM Megan Jakel, Jacquelin Harris Daniel Harder, Collin Heyward, Chalvar Monteiro

SUNDAY, FEBRUARY 18, 2018, at 3 PM Rachael McLaren, Daniel Harder

Renaldo Maurice, Kanji Segawa, Jeroboam Bozeman “Airmail Special” recorded by Ella Fitzgerald

- PAUSE SATURDAY, FEB. 17, 2018, at 8 PM

REVELATIONS (1960) Choreography by Alvin Ailey Music: Traditional Décor and Costumes by Ves Harper Costumes for “Rocka My Soul” redesigned by Barbara Forbes Lighting by Nicola Cernovitch PILGRIM OF SORROW The Company

I Been ’Buked

Music arranged by Hall Johnson*

Daniel Harder, Hope Boykin, Ashley Mayeux

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

Linda Celeste Sims, Glenn Allen Sims

Fix Me, Jesus

Music arranged by Hall Johnson*

TAKE ME TO THE WATER Chalvar Monteiro, Belén Pereyra-Alem, Music adapted and arranged by Howard A. Roberts Collin Heyward, Solomon Dumas

Processional/Honor, Honor

Ghrai DeVore, Vernard J. Gilmore, Fana Tesfagiorgis

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

Clifton Brown

I Wanna Be Ready

Music arranged by James Miller+

MOVE, MEMBERS, MOVE Collin Heyward, Yannick Lebrun, Music adapted and arranged by Howard A. Roberts Michael Francis McBride

Sinner Man

The Day Is Past and Gone

Music arranged by Howard A. Roberts and Brother John Sellers

The Company

ATLANTA’S PERFORMING ARTS PUBLICATION I-21


PROGRAM You May Run On

The Company

Rocka My Soul in the Bosom of Abraham

The Company

Music arranged by Howard A. Roberts and Brother John Sellers 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 Corp., New York City.

SUNDAY, FEB. 18, 2018, at 3 PM

REVELATIONS (1960) Choreography by Alvin Ailey Music: Traditional Décor and Costumes by Ves Harper Costumes for “Rocka My Soul” redesigned by Barbara Forbes Lighting by Nicola Cernovitch PILGRIM OF SORROW The Company

I Been ’Buked

Music arranged by Hall Johnson*

Jeroboam Bozeman, Ghrai DeVore, Ashley Mayeux

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

Megan Jakel, Clifton Brown

Fix Me, Jesus

Music arranged by Hall Johnson*

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

Wade in the Water

Renaldo Maurice, Samantha Figgins, Jeroboam Bozeman, Solomon Dumas Belén Pereyra-Alem, Vernard J. Gilmore, Akua Noni Parker

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+

Sean Aaron Carmon

MOVE, MEMBERS, MOVE Collin Heyward, Chalvar Monteiro, Music adapted and arranged by Howard A. Roberts Kanji Segawa

Sinner Man

The Day Is Past and Gone

The Company

You May Run On

The Company

Rocka My Soul in the Bosom of Abraham

The Company

Music arranged by Howard A. Roberts and Brother John Sellers Music arranged by Howard A. Roberts and Brother John Sellers 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 Corp., 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. I-22 ENCOREATLANTA.COM


BIOS ALL ABOUT AILEY

Alvin Ailey American Dance Theater grew from a now-fabled performance in March 1958 at the 92nd Street Y in New York City. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance. The Ailey company has gone on to perform for an estimated 25 million people at theaters in 48 states and 71 countries on six continents — and has reached millions more through TV broadcasts, film screenings and online platforms. 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 in 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 acknowledges The Joan & Sandy Weill Global Ambassador Fund, which provides vital support for Ailey’s national and international tours.

ALVIN AILEY FOUNDER Alvin Ailey was born on Jan. 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 AfricanAmerican cultural experience. He established the Alvin Ailey American Dance Center (now The Ailey School) in 1969 and formed the Alvin Ailey Repertory Ensemble (now Ailey II) in 1974. Mr. Ailey was a pioneer of programs promoting arts in education, particularly those benefiting underserved communities. Throughout his lifetime he was awarded numerous distinctions, including the Kennedy Center Honor in 1988 in recognition of his extraordinary contribution

to American culture. 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.”

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 lead 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 Ella, In/Side, Mass, No Longer Silent and The Hunt. In addition to expanding the Ailey repertory with works by artists as diverse as Kyle Abraham, Mauro Bigonzetti, Ronald K. Brown, Rennie Harris and Paul Taylor, Mr. Battle has 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, Fla. He showed artistic talent early and studied dance at a high school arts ATLANTA’S PERFORMING ARTS PUBLICATION I-23


BIOS 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 set his choreography on that company starting in 1998. Mr. Battle then founded 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 performed extensively at venues such as 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. He has honorary doctorates from The University of the Arts and Marymount Manhattan College. Mr. Battle was named a 2015 visiting fellow for The Art of Change, a Ford Foundation initiative. He is a sought-after keynote speaker and has addressed such high-profile organizations as 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 Repertory Company. Mr. Chaya joined Alvin Ailey American Dance Theater in 1972 and performed with the Company for 15 years. In 1988 he became the Company’s rehearsal director after serving as assistant rehearsal director. 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, Stack-Up, Episodes, Bad Blood, Hidden Rites and Witness for the Company. At the beginning of his tenure, Mr. Chaya restaged Ailey’s For ‘Bird’ - With Love for a Dance in America program entitled Alvin Ailey American I-24 ENCOREATLANTA.COM

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 Bad Blood, Blues Suite, Love Songs, Masekela Langage, Pas de Duke 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.

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, a 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. In 2015 she became the 50th inductee into the Hall of Fame at the National Museum of Dance. In 2016 she received the Douglas Watt Lifetime Achievement Award from the Fred and Adele Astaire Awards. As a highly regarded choreographer, Ms. Jamison has created many celebrated works, including Divining (1984), Forgotten Time (1989), Hymn (1993), HERE... NOW. (commissioned for the 2002 Cultural Olympiad), Love Stories (with additional choreography by Robert Battle and Rennie Harris, 2004) and Among Us (Private Spaces: Public Places, 2009). Ms. Jamison’s autobiography, Dancing Spirit, was edited by Jacqueline Kennedy Onassis and published in


BIOS 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 emerita 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.

BENNETT RINK EXECUTIVE DIRECTOR Bennett Rink became executive director of Alvin Ailey Dance Foundation in 2013. Mr. Rink first joined Ailey as manager of special events in 1994, became development director in 1998 and then worked as senior director of development and external affairs from 2007 to 2012. In his tenure overseeing Ailey’s development, Mr. Rink led a $75 million capital campaign supporting Ailey’s first permanent home, The Joan Weill Center for Dance which opened in 2005, and established an endowment to support major program areas. When the Company celebrated its 50th anniversary in 2008, Mr. Rink supervised an 18-month celebration, including events, promotions, collaborations and special performances, bringing public awareness of the Ailey organization to new heights. Mr. Rink also oversaw “The Next Step Campaign,” which grew the organization’s endowment to $50 million. As Executive Director, Mr. Rink launched a five-year strategic plan in 2014 to realize Robert Battle’s creative vision, expand Ailey’s educational offerings and enhance technology to extend the reach of the organization. Central to the plan has been the expansion of The Joan Weill Center for Dance, which attracts more than 200,000 visitors each year. This fall, Ailey unveiled the Center’s Elaine Wynn and Family Education Wing, providing much-needed additional studios and classroom space to meet the growing demand for Ailey’s programs. The building now comprises 87,000 square feet and is the largest destination for dance in New York City. Mr. Rink also conceived The Campaign for Ailey’s Future, a $50 million initiative to support the Center’s expansion and the ongoing implementation of other long-range strategic priorities. During Mr. Rink’s tenure, the Company deepened its presence in New York City by establishing a spring season at Lincoln Center to complement its New York City Center winter season, while also extending its role as America’s “Cultural Ambassador to the World” with tours to Africa, Europe and South America. In order

to reach audiences beyond live performances, the Company has broadened its commitment to creating film and digital content, including its first-ever theatrical movie release as part of Lincoln Center at the Movies: Great American Dance. Mr. Rink is a graduate of Syracuse University and holds a B.F.A. in theater.

MATTHEW RUSHING REHEARSAL DIRECTOR AND GUEST ARTIST Matthew Rushing was born in Los Angeles, California. He began his dance training with Kashmir Blake in Inglewood, 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 a 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. During his career Mr. Rushing performed as a guest artist for galas in Vail, Colo., 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 AbdurRahim 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.

WHO'S WHO IN THE COMPANY HOPE BOYKIN (Durham, N.C.) is a threetime recipient of the American Dance Festival’s Young Tuition Scholarship. She attended Howard University and, while in Washington, D.C., 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). She has choreographed three works for Alvin Ailey American Dance Theater: Acceptance in Surrender (2005), in collaboration with fellow Ailey company members Abdur-Rahim Jackson and Matthew Rushing; Go in Grace (2008, for the Company’s 50th anniversary season) with music by the awardwinning singing group Sweet Honey in the Rock; ATLANTA’S PERFORMING ARTS PUBLICATION I-25


BIOS and r-Evolution, Dream. (2016), inspired by the speeches and sermons of the Rev. Martin Luther King Jr., with original music by Ali Jackson. Find Ms. Boykin on Twitter and Instagram at hbdance and Facebook at HopeBoykinDance. Ms. Boykin joined the Company in 2000. JEROBOAM BOZEMAN (Brooklyn, N.Y.) began his dance training under Ruth Sistaire at the Ronald Edmonds Learning Center. He later joined Creative Outlet, 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. During the fall of 2016 Mr. Bozeman performed as a guest artist with The Royal Ballet. Mr. Bozeman recently received a bachelor’s degree in psychology concentrating in industrial organization from Argosy University. Mr. Bozeman joined the Company in 2013.

CLIFTON BROWN (Goodyear, Ariz.) began his dance training at Take 5 Dance Academy and continued in the first class of the Ailey/Fordham BFA Program in Dance. Mr. Brown began his professional career when he joined the Ailey company in 1999 and served as choreographic assistant to Judith Jamison. He has also danced with Earl Mosley’s Diversity of Dance and Lar Lubovitch Dance Company, and was a founding member and rehearsal director for Jessica Lang Dance. He was nominated in the U.K. for a Critics Circle National Dance Award for Best Male Dancer and received a Black Theater Arts Award as well as a New York Dance and Performance Award (“The Bessies”). As a guest artist Mr. Brown has performed with Miami City Ballet, Rome Opera Ballet, Nevada Ballet and Parsons Dance Company. He has set the work of Alvin Ailey, Earl Mosley and Jessica Lang on various companies around the world. Television appearances as a guest artist include So You Think You Can Dance and Dancing with the Stars. He has had the privilege of performing at the White House for President Obama. Mr. Brown rejoined the company in 2017.

Mr. Carmon was a 2017 Joffrey Ballet Winning Works award recipient and was commissioned to choreograph a new ballet, Suite Hearts. He creates original works and teaches master classes at high schools, universities and dance companies, both nationally and internationally. Mr. Carmon joined the Company in 2011. SARAH DALEY-PERDOMO (South Elgin, Ill.) 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 BFA Program in Dance. Mrs. Daley-Perdomo 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 received 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 MultiCultural Dance Center and was a scholarship student at The Ailey School. She has completed summer programs at the Kirov Academy, Ballet Chicago, Deeply Rooted Dance Theater, American Ballet Theatre and Alonzo King 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 received the Danish Queen Ingrid Scholarship of Honor and the Dizzy Feet Foundation Scholarship, and she was a 2010 nominee for the first Clive Barnes Award. Ms. DeVore joined the Company in 2010.

SOLOMON DUMAS (Chicago) was introduced to dance through AileyCamp. He began his formal training at The Chicago Academy for the Arts and the Russell Talbert Dance Studio, where he received his most influential training. Mr. Dumas studied at New World School of the Arts and was a fellowship Level 1 student at The Ailey School. He has performed with companies including Garth Fagan Dance; Ronald K. Brown/ Evidence, A Dance Company; and Labyrinth Dance Theater; and was a member of Ailey II. Mr. SEAN AARON CARMON (Beaumont, Texas) Dumas joined the Company in 2016. attended New York University’s Tisch School of the Arts and later graduated from the Ailey/ SAMANTHA FIGGINS (Washington, D.C.) Fordham BFA Program in Dance. He has began dancing at Duke Ellington School of the appeared on Broadway in 2010’s La Cage aux Arts under the tutelage of Charles Auggins and Folles and in The Phantom of the Opera. He has also Sandra Fortune-Greene and attended summer appeared as a guest artist with notable companies intensives at Dance Theatre of Harlem under the such as the Cape Dance Company in South Africa direction of Arthur Mitchell. She continued her and with Joshua Beamish/MOVEthecompany. education at SUNY Purchase Conservatory of I-26 ENCOREATLANTA.COM


BIOS Dance, where 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 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) began his training at Curie Performing and Creative Arts High School in Chicago under Diane Holda. He later studied at the Joseph Holmes Chicago Dance Theater with Harriet Ross, Marquita Levy and Emily Stein. He received first place in the allcity NAACP ACT-SO competition in 1993. He attended Barat College under scholarship and tutelage of Rory Foster and Eileen Cropley. He then studied as a scholarship student at The Ailey School and was a member of Ailey II. In 2010, he performed as part of the White House Dance Series. Mr. Gilmore is a choreographer whose work has been a part of the Ailey Dancers Resource Fund, Fire Island Dance Festival 2008, Jazz Foundation of America Gala 2010 and he produced the Dance Of Light project in 2010 and 2015. An excerpt of Mr. Gilmore’s work La Muette was performed in 2017 at New York City Center as part of the “Celebrating the Men of Ailey” program. Nimbus Dance Works will also perform a new work by Mr. Gilmore in 2018. Mr. Gilmore is a certified Zena Rommett Floor-Barre instructor. He teaches workshops and master classes around the world. Mr. Gilmore joined the Company in 1997. JACQUELINE GREEN (Baltimore) began her dance training at the age of 13 at the prestigious Baltimore School for the Arts. After being accepted into the Ailey/Fordham BFA Program by Denise Jefferson, she graduated Cum Laude in 2011. During this time, she also received training at the Pennsylvania Regional Ballet, Chautauqua Institution for Dance and Jacob’s Pillow Dance Festival. In her career, she has performed works by a wide range of choreographers, including Wayne McGregor, Jiří Kylián, Elisa Monte, Ronald K. Brown and Kyle Abraham. In 2016, she performed as a guest artist with the Royal Ballet. Ms. Green is the recipient of a 2014 Dance Fellowship from the Princess Grace Foundation-USA and a 2015 Clive Barnes Award nominee. She is also the recipient of the 2009 Martha Hill Fund’s Young Professional

Award and the 2010 Dizzy Feet Foundation Scholarship. 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 BFA Program in Dance, where he was awarded the Jerome Robbins/Layton Foundation Scholarship and participated in the Holland Dance Festival with the School and as a member of the Francesca Harper Project. Mr. Harder has worked with and performed works by Nacho Duato, William Forsythe, Donald McKayle, Debbie Allen and Christopher L. Huggins. 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, N.C.) began her dance training at Dance Productions Studios under the direction of Lori Long. Ms. Harris received a silver ARTS award from the National Foundation for the Advancement of the Arts and was a Presidential Scholar in the Arts semifinalist. She has studied at Joffrey Ballet School and Jacob’s Pillow Dance Festival. She graduated with honors from the Ailey/Fordham BFA Program in Dance. In 2016, Ms. Harris was named one of the “25 to Watch” by Dance Magazine. Most recently she received a 2017 dance fellowship from the Princess Grace Foundation-USA. 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. He 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 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 BFA Program in Dance and was a member of Ailey II. Mr. Heyward joined the Company in 2014. MICHAEL JACKSON JR. (New Orleans) began his dance training at age 14 at the Duke Ellington School of the Arts in Washington, D.C., under the direction of Charles Augins. He became a member of Dance Theatre of Harlem Dancing through Barriers Ensemble in 2005. In ATLANTA’S PERFORMING ARTS PUBLICATION I-27


BIOS 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, Mich.) 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 BFA Program in Dance. She was a member of Ailey II and joined the Company in 2009. YANNICK LEBRUN (Cayenne, French Guiana) began training in his native country at the Adaclam School under the guidance of Jeanine Verin. After graduating high school in 2004, he moved to New York City to 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 citizens in the United States. In November 2016, Mr. Lebrun was a guest performer with The Royal Ballet in Wayne McGregor’s Chroma. Mr. Lebrun was a member of Ailey II and joined the Company in 2008. RENALDO MAURICE (Gary, Ind.) 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, Ind., his hometown. Find Mr. Maurice on Instagram at r_maurice25 and Facebook at maurice.gardner3. He was a member of Ailey II and joined the Company in 2011. ASHLEY MAYEUX (Houston) began her dance training at the High School for Performing and Visual Arts and graduated cum laude with a B.F.A. from SUNY Purchase. Ms. Mayeux continued her studies at the Dance Theatre of I-28 ENCOREATLANTA.COM

Harlem and went on to perform in the tour of the Broadway musical Aida. She has been featured in such publications as The New York Times, The Los Angeles Times and Pointe magazine. From 2012 to 2016, Ms. Mayeux was a member of Complexions Contemporary Ballet. To engage more with Ms. Mayeux, please follow her on Instagram at courtesy_ofhtwn. She joined the Company in 2016. MICHAEL FRANCIS McBRIDE (Johnson City, N.Y.) began his training at the Danek School of Performing Arts and later at Amber Perkins School of the Arts in Norwich, N.Y. 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 BFA Program in Dance in 2010. Follow Mr. McBride on Instagram at mickey.mc. Mr. McBride joined the Company in 2009. RACHAEL McLAREN (Winnipeg, Manitoba) began her dance training at the Royal Winnipeg Ballet School and continued at the Ailey School in New York under the direction of Denise Jefferson. She has been a guest artist with Armitage Gone! Dance and the Francesca Harper Project. Ms. McLaren was most recently a guest artist with Royal Ballet of London for Wayne McGregor’s 10th anniversary season in a production of Chroma. Her theater credits include Ensemble/Understudy for the role of Ali in the Toronto Production of Mamma Mia! (Royal Alexandra Theater/Mirvish Productions). Ms. McLaren was a member of Ailey II and is in her 10th season with the Company. CHALVAR MONTEIRO (Montclair, N.J.) began his formal dance training at Sharron Miller’s Academy for the Performing Arts and went on to study at The Ailey School. He received his B.F.A. in dance from SUNY Purchase, where he performed works by Merce Cunningham, Helen Pickett, Doug Varone, Dianne McIntyre, Kevin Wynn and Paul Taylor. Since graduating Mr. Monteiro has worked with Sidra Bell Dance New York, Elisa Monte Dance, Keigwin + Company, BODYTRAFFIC and, most extensively, with Abraham.In.Motion. He has assisted Kyle Abraham in setting and creating work for Barnard College, Princeton University, Emory University, NYU Tisch School of the Arts, Alvin Ailey American Dance Theater and Wendy Whelan’s Restless Creature. Mr. Monteiro was a member of Ailey II and joined the Company in 2015.


BIOS AKUA NONI PARKER (Kinston, N.C.) began her professional dance training at the Academy of the Dance in Wilmington, Del. After graduating high school she joined Dance Theatre of Harlem, where she performed principal roles in George Balanchine’s Agon, Serenade and The Four Temperaments, as well as the title role in Michael Smuin’s St. Louis Woman. Ms. Parker has also danced professionally with the Cincinnati Ballet and Ballet San Jose. She had the honor of being the first African-American ballerina to dance the role of the Sugar Plum Fairy in Ballet San Jose’s The Nutcracker. Since joining the Ailey company in 2008, Ms. Parker has performed featured roles in Mr. Ailey’s Blues Suite, Night Creature, Masekela Langage and Cry. She has also performed featured roles in Jiří Kylián’s Petite Mort, Wayne McGregor’s Chroma and the title role in Geoffrey Holder’s Prodigal Prince. To see Ms. Parker’s outside projects and interests, you can follow her on Instagram at OnlyUpward. DANICA PAULOS (Huntington Beach, Calif.) began her dance training at Orange County Dance Center in Southern California and 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 received a Level 1 Award as a YoungArts finalist by the National Foundation for Advancement in the Arts. In 2015, she was featured on the cover of Dance Magazine as one of “25 to Watch.” Ms. Paulos was a member of Ailey II and joined the Company in 2014. BELÉN PEREYRA-ALEM (Lawrence, Mass.) began her formal dance training at the Boston Arts Academy, where she graduated as valedictorian. She was also a member of NIA Dance Troupe at Origination Cultural Arts Center in Boston. Upon moving to New York City, Mrs. PereyraAlem 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. Mrs. Pereyra-Alem 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. Mrs. PereyraAlem joined the Company in 2011.

to teach, and as a fellowship student at The Ailey School. Mr. Roberts was a member of Ailey II and Complexions Contemporary Ballet. Dance Magazine featured him as one of “25 to Watch” in 2007 and on the cover in 2013. He performed at The White House in 2010, and as a guest star on "So You Think You Can Dance," "Dancing With the Stars" and "The Ellen Degeneres Show." In 2015, he made his Ailey II choreographic debut with his work Gêmeos, set to the music of Afrobeat star Fela Kuti. His first work for the Company, Members Don’t Get Weary, premiered during the 2017 New York City Center season. Mr. Roberts won Outstanding Performer at the prestigious New York Dance and Performance “Bessie” Awards and was a guest star with London’s Royal Ballet. He first joined the Company in 2002. SAMUEL LEE ROBERTS (Quakertown, Penn.) began his dance training under the direction of Kathleen Johnston and attended The Juilliard School. He performed in the first international company of Radio City Christmas Spectacular in Mexico City and danced with the New York cast (1999–2004). Mr. Roberts 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. Follow him on Instagram at samuellee.me. 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, Japan. 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 (2000–02) and Robert Battle’s Battleworks Dance Company (2002–10). Mr. Segawa worked extensively with choreographer Mark Morris (2004–11), repeatedly appearing in Mr. Morris’ various productions with Mark Morris Dance Group, including as a principal dancer in John Adams’ Nixon in China at the Metropolitan Opera. In addition, Mr. Segawa has assisted and worked closely with choreographer Jessica Lang since 1999. Mr. Segawa joined the Company in 2011.

JAMAR ROBERTS (Miami) graduated from the New World School of the Arts. He trained at GLENN ALLEN SIMS (Long Branch, N.J.) the Dance Empire of Miami, where he continues began classical dance training at the Academy

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BIOS of Dance Arts in Tinton Falls, N.J. and was a scholarship student to the Ailey School’s Summer Intensive. Mr. Sims attended The Juilliard School under Benjamin Harkarvy. In 2004, Mr. Sims was the youngest person to be inducted into Long Branch High School’s Distinguished Alumni Hall of Fame. He has been featured on network television in several programs, including "BET Honors," "Dancing With the Stars," "The Ellen DeGeneres Show," "LIVE! With Kelly and Michael," "The Today Show" and "So You Think You Can Dance." Mr. Sims is a master teacher, certified Zena Rommett Floor-Barre instructor and certified Pilates mat instructor. He has performed in the White House Dance Series and for the king of Morocco. Mr. Sims was featured on the cover of and wrote a featured guest blog for Dance Magazine. He has originated featured roles by Carmen De Lavallade, Judith Jamison, Lynn Taylor Corbett, Mauro Bigonzetti, Rennie Harris and Ronald K. Brown. Mr. Sims joined the Company in 1997. LINDA CELESTE SIMS (Bronx, N.Y.) began training at Ballet Hispánico School of Dance and graduated from LaGuardia High School of the Performing Arts. Ms. Sims has received the 2016 Inspiracion Award from Ballet Hispanico, has won Outstanding Performance at the 2014 New York Dance and Performance Award ("The Bessies") and most recently, she received the 2017 Dance Magazine Award. Ms. Sims has been featured on the cover of Dance Magazine and on "So You Think You Can Dance," "Dancing With The Stars," "The Ellen DeGeneres Show," "The Mo'Nique Show," "LIVE! With Kelly and Michael" and "The Today Show." Ms. Sims has appeared at the White House Series, Youth America Grand Prix, Vail International Dance Festival and galas in Budapest and Vienna, and originated featured roles by Judith Jamison, Donald Byrd, Alonso King, Dwight Rhoden, Ronald K. Brown, Mauro Bigonzetti, Jennifer Muller, Karole Armitage, Lynn Taylor Corbett, Rennie Harris, Christopher L. Huggins and Azure Barton. She teaches master classes worldwide and is a certified Zena-Rommett Floor-Barre instructor. Ms. Sims joined the Company in 1996 and is currently the assistant to the rehearsal director.

Fellowship in the performing and visual arts. She performed at the White House Dance Series and has been a guest performer on "So You Think You Can Dance," "Dancing With the Stars" and "The Today Show." Ms. Stamatiou has also danced in the films Shake Rattle & Roll and Dan Pritzker’s Bolden. Ms. Stamatiou was a member of Ailey ll and a guest artist for Dance Grand Moultrie and Caroline Calouche & Co. She is a certified Gyrotonic and Gyrokinesis instructor and a mother of two. Follow her on Instagram at constancestamatiou. Ms. Stamatiou joined the Company in 2007 and rejoined in 2016. JERMAINE TERRY (Washington, D.C.) began his dance training in Kissimmee, Fla., 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, and as a guest artist on the television show "So You Think You Can Dance." In 2013, he received the Distinguished Alumnus Award from USF for outstanding service to the arts. He has made costumes for the Company, Ailey II, Philadanco, Jessica Lang Dance and The Black Iris Project, to name a few. His evening wear has been in Essence online as well at shot by the late Bill Cunningham for the style section of The New York Times. Please follow Mr. Terry on Instagram at Jerms83. Mr. Terry joined the Company in 2010.

FANA TESFAGIORGIS (Madison, Wis.) is a graduate of the Ailey/Fordham BFA Program in Dance, with a minor in journalism. She began training at Ballet Madison under the direction of Charmaine Ristow and attended 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 CONSTANCE STAMATIOU (Charlotte, N.C.) joined the Company in 2013. began her dance training at Pat Hall’s Dance Unlimited and North Carolina Dance Theatre. The Ailey dancers are supported, in part, by She graduated from NorthWest School of the Arts The Judith McDonough Kaminski and studied at SUNY Purchase before becoming a Dancer Endowment Fund. fellowship student at The Ailey School. In 2009, Ms. Stamatiou received the Leonore Annenberg I-30 ENCOREATLANTA.COM


STAFF & CREW ALVIN AILEY DANCE FOUNDATION BOARD OF TRUSTEES Daria L. Wallach, Chairman Debra L. Lee, President Gina F. Adams, Stephen J. Meringoff, Arthur J. Mirante II, John H. Schaefer, Vice Chairmen Eleanor S. Applewhaite Anthony S. Kendall Stanley Plesent Esq. Robert Battle Robert Kissane Marylin L. Prince Paulette Mullings Bradnock Ricki Lander Lata N. Reddy Tia Breakley-China Michelle Y. Lee Bennett Rink Robyn Coles Natasha Leibel Levine, M.D. Richard Speciale Sela Thompson Collins Anthony A. Lewis Marc S. Strachan Laura D. Corb Leslie L. Maheras Joan H. Weill Paul M. Donofrio Lucinda C. Martinez Roger C. Williams Jr. Jaishri Kapoor Doris Meister Gillian Wynn Philip Laskawy, Harold Levine*, Stanley Plesent, Esq., Joan H. Weill, Chairmen Emeriti Henry McGee, President Emeritus Simin N. Allison, Anthony M. Carvette, Kathryn C. Chenault, Guido Goldman, Bruce S. Gordon, Lemar Swinney, Honorary Trustees *In memoriam

ALVIN AILEY DANCE FOUNDATION Recipient of the National Medal of Arts Bennett Rink — Executive Director Pamela Robinson — Chief Financial Officer Thomas Cott — Senior Director of Marketing and Creative Content Kimberly T. Watson — Senior Director of Development

ALVIN AILEY AMERICAN DANCE THEATER

Donald 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 Therapist Sara Aingorn, Physical Therapist Kala Flagg, Physical Therapist Ryanne Glasper, Physical Therapist TOURING CONTACTS North American Agent OPUS 3 ARTISTS opus3artists.com

Matthew Rushing, Rehearsal Director Linda Celeste Sims, Assistant to the Rehearsal Director

International Agent ASKONAS HOLT LTD. askonasholt.co.uk

Dacquiri T’Shaun Smittick, Director of Production Isabelle Mezin, Director of Company Business Affairs Gregory Stuart, Company Manager Joseph Anthony Gaito, Technical Director Kristin Colvin Young, Production Stage Manager Al Crawford, Lighting Director Jon Taylor, Wardrobe Supervisor DJ Adderley, Master Carpenter Zane Beatty, Master Electrician Russell J. Cowans IV, Sound Engineer Chris Theodore, Property Master Selena M. Campbell, Assistant Company Manager Nicole A. Walters, Assistant Stage Manager Roya Abab, Associate Lighting Director Jesse Dunham, Wardrobe Assistant Katie Chihaby, Wardrobe Assistant Philip Lugo, Flyman Andrew Davila, Assistant Electrician Michelle Grazio, Production and Finance Associate

PRODUCTION CREDITS Lighting 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 MERCHANDISE Ailey Tour Merchandise and AileyShop.com are managed by The Araca Group www.AileyShop.com Alvin Ailey American Dance Theater Phone: (212) 405-9000 AlvinAiley.org facebook.com/AlvinAileyAmericanDanceTheater Instagram: @alvinailey

ATLANTA’S PERFORMING ARTS PUBLICATION I-31


a central meeting point for dance audiences, artists, teachers, and students in the Atlanta area Destination Dance, presented by Alvin Ailey American Dance Theater, launched in January 2017 to help increase awareness about the many opportunities available in Atlanta to see or participate in dance. The Ailey company, which has been part of the Atlanta cultural community for over 40 years, is proud to partner on this initiative with so many of the city’s wonderful arts and civic organizations including AREA, Atlanta Ballet, Atlanta’s Office of Cultural Affairs, Dance Canvas, The Fox Theatre, High Museum of Art, National Center for Civil and Human Rights, and the Rialto Center for the Arts at Georgia State University. For more information:

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ROAD TRIP! See the Southeast with four wheels and your family. We’ve got five stops in four states that are worth your time. By Therra Gwyn Jaramillo

W

hat’s your favorite family memory? For many it’s a family vacation. A 2015 study found that half those surveyed listed a family vacation as their happiest memory. Apparently, all those “Are we there yets,” “How much l-o-n-g-e-rs?” and “Mom, I have to go to the bathrooms” haven’t soiled some fond thoughts of long ago. The survey, incidentally, comes from the nonprofit Family Holiday Association, so not exactly an unbiased source, but still. If you’ve got four wheels and a hankering to see more of the Southeast with your best beloveds, we have a few ideas. Forget air travel this time. Avoid the stresses of herding kids and luggage through the maze that is the modern airport. Experts predict that lower gas prices will stick around at least through the first part of 2018. Our go-to’s are arranged alphabetically by state. Gulf Shores & Orange Beach, Ala. | 5.5 hours With so many beaches in the Southeast, it’s tempting to overlook the 60 miles of Alabama coastline found between Mississippi and Florida. That’d be a mistake. Bama beaches are worth a long look and an even longer weekend.

ATLANTA’S PERFORMING ARTS PUBLICATION 17


shaded by Spanish moss-draped trees and restored antebellum homes. Southern Living magazine named Beaufort the South’s best small town in 2017. Found between Charleston and Savannah on the coast, it’s a quick trip to the Sea Islands, the barrier islands between Beaufort and the Atlantic Ocean. HUNTING ISLAND STATE PARK’S historic lighthouse is the only publicly accessible lighthouse in South Carolina. Also worth a look-see: the BEAUFORT HISTORY MUSEUM and the PENN CENTER, founded in 1862 to provide education for recently freed slaves. For breakfast or lunch, visit LOW COUNTRY PRODUCE AND MARKET. Grab regional gifts for folks not lucky enough to be with you. Later, head to SCOUT SOUTHERN MARKET for a sweet tea float that includes a dollop of lemon, peach or mango sorbet. Wear your walking shoes. Beaufort is a fine place for strolling. Gatlinburg, Pigeon Forge, Great Smokies, Tenn. | 4.5 hours Two destination towns and the most visited national park in the United States sit in the misty mountains of eastern Tennessee. If you think it’s Dolly Parton’s world and we just live in it, you’d be right, at least in Pigeon Forge. It’s home to DOLLYWOOD theme park, the biggest ticketed attraction in the state, and DOLLY’S SPLASH COUNTRY, a 35-acre water park named one of America’s best by TripAdvisor. In addition to rides and regional arts and crafts, Dollywood has concerts and the SOUTHERN GOSPEL MUSEUM AND HALL OF FAME. 18 ENCOREATLANTA.COM

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TOP: Just as this mountainous range is divided between Tennessee and North Carolina, so is the controversy of how to spell its name: with the “e” or without? ABOVE: America’s first wing coaster, Dollywood’s Wild Eagle seats riders on either side of the track so there’s nothing but air above and below ... a full 21 stories below.

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Dolly’s 100-acre DREAMMORE RESORT is here, as is DOLLY’S DIXIE STAMPEDE, five acres of fun featuring 32 horses and riders. It’s all downhill at the SMOKY MOUNTAIN ALPINE COASTER, a mileplus track that offers thrill rides and gorgeous views. THE HATFIELD AND McCOY DINNER SHOW is a soap opera of countrified conflict with live music and an all-youcan-eat buffet. The GATLINBURG SPACE NEEDLE, a 407-ft. tall observation tower, provides a bird’s-eye view of the Smokies. GREAT SMOKY MOUNTAINS NATIONAL PARK itself covers 522,427 acres, divided almost evenly between Tennessee and North Carolina. The sprawl of forest, streams, rivers and waterfalls includes a segment of the Appalachian Trail. CADES COVE, the park’s most popular feature, treats you to stunning vistas and remnants of Appalachian culture. A word to the wise: Be prepared for “bear jams.” When a black bear is spotted, traffic stops and smartphone cameras come out.


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FOR YOUR INFORMATION THE THEATER A 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 EVENTS The 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 OFFICE The 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 SALES The 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 foxgroup@foxtheatre.org. CONCESSIONS Concession stands are located in the Spanish Room, main lobby, and on the mezzanine lobby level. RESTROOMS Restrooms 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. TOURS Fox 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 FOUND Lost 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.

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EMERGENCY INFORMATION In 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 ACCESSIBILITY The 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. TICKETS To purchase accessible seating at the Fox Theatre please call: 404-881-2016 Monday through Friday, 10 a.m.-6 p.m. 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 PROVIDED Opened Captioning Performance Sponsored in partnership through TDF (Theatre Development Fund).

ELEVATORS Elevators 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. PARKING Parking 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 NOTES All 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.)


at M A OF AT RCUS JCC LANTA

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Recipient of the Regional Theatre Tony Award ®

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ETIQUETTE 1. Please arrive early. Latecomers may not be

THE FOX THEATRE 660 Peachtree Street, N.E. Atlanta, Georgia 30308 404.881.2100 • Www.foxtheatre.org

seated until intermission.

STAFF

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.

Allan C. Vella. . . . . . . . . . . . . . . . . . . . . . . . President & C.E.O. Adina Alford Erwin . . . . . . . . . . . . Vice President & C.O.O. Jeff Quesenberry. . . . . . . . . . . . . . Vice President & C.F.O. Jamie Vosmeier. . . . . . Senior Director, Sales and Marketing Shannon Caudill. . . Director of Operations & Public Safety Lester Andrews. . . . . . Director of Information Systems Nancy Lutz. . . . . . . . . . . . . . . . . Director of Special Events Lucy Lawler-Freas. . . . . . . . . . Director of Programming Shelly Kleppsattel. . . . . . . Booking & Contract Manager William Renshaw. . . . . . . . . . . . . . . . . . Director of Finance Rachel Bomeli. . . . . . . . . . . . . . . . . . . . . . . Director of Events Erick Jimerson . . . . . . . . . . . . . . . . . Ticket Office Manager Shelby Moody. . . . . . . . Corporate Group Sales Manager Aly Grubb. . . . . . . . . . . . . . . . . . . . . . . . . Marketing Manager Laura Zimbrick. . . . . . . . . . . . . . . . . Corporate Partnership Premium Seating Manager Andy Arnold. . . . . . . . . . . . . . . . . . . . . . . . . Security Manager Jerome Carter. . . . . . . . . Facilities Operations Supervisor Amy Smith. . . . . . . . . . . . . . . . . . . . . Director of Production Gary Hardaway. . . . . . . . . . . . . . . . . . . . . . . Head Carpenter Larry Watson. . . . . . . . . . . . . . . . . . . . . . . . . . . . Head Flyman Scott Hardin. . . . . . . . . . . . . . . . . Head Props/Projectionist Ray T. Haynie. . . . . . . . . . . . . . . . . . . . . . . . . Head Electrician Cary Oldknow. . . . . . . . . . . . . . . . . . . . Assistant Electrician Rodney Amos. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Head Audio

5. The overture is part of the performance. Please cease talking at this point.

Edward L. White . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chairman Keith O Cowan . . . . . . . . . . . . . . . . . . . . . . . . . Vice Chairman

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.

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.

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BOARD OF DIRECTORS

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, Sylvia Russell, Nancy Simms, Preston Stevens, Alan Thomas, Clyde Tuggle, Carolyn Wills Official Beverage of the Fox

Official Vehicle of the Fox

Official Hotel and Restaurant of the Fox

Official Energy Partner of the Fox

Official Beer of the Fox

Official Bank of the Fox

Official Healthcare Partner of the Fox

Official Grocer of the Fox


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ATLANTA’S PERFORMING ARTS PUBLICATION 25


FRIENDS OF THE FOX 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. To learn more about the Friends of the Fox membership program, please visit www.foxtheatre.org/support-us, email membership@foxtheatre.org, or call 404.881.2023.

The Fox Theatre would like to thank the following Friends of the Fox who have given at the Legend ($10,000), Marquee ($5,000), Encore ($2,500) and Entourage ($1,000) levels:

Legend

Mr. James Dougherty Royce & Jessica Pedersen Janice & Gary Sloan

Marquee

Diana Blank Teresa Dau & Amanda McMillan Mr. & Mrs. Gary Martin Hays

Encore

John R. Adams Alliance Fire Protection Services, LLC Blake’s on the Park John & Mary Ann Busby Mr. & Mrs. Douglas Borenstein Cathy & Mayson Callaway Matt Chambless & Michelle Love Citizen Lanier Holdings Colgate Crib Mattress

Jamie Medalie Longhurst Margaret Ross

Concierge Services of Atlanta Michael Crew Ira & Talmer Curry, Jr. Dynamics AX Consulting Roger Gelder George Kuhn Adam Malone Jerel & Janet Rush Allan & Nicole Vella

Entourage

Allied Integrated Marketing Collins Project Management, Inc. Ritchie & Joy Dickie Drew Eckl & Farnham

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ATLANTA’S PERFORMING ARTS PUBLICATION 27


FOX FUN FACTS

Watch what’s under your feet — that’s not just any old carpeting Chances are you’ve never given the floor of the Fox Theatre much thought. We’re thinking you might want to pay a bit more attention to the patterns beneath your feet. You are, in fact, walking on a woven bit of history. Here’s what we mean:

• The design of the theater carpet has symbols that represent the Shriners, who once owned the building, and theater founder William Fox. • Sheep from New Zealand and Scotland produced the wool mixture that is part of the carpet. • Bloomsburg Carpet Industries in Pennsylvania custom-made the Fox Theatre’s auditorium, gallery and Egyptian Ballroom carpets. They cover more than an acre of space. • The Egyptian Ballroom’s original carpeting was made in Ireland. • Bloomsburg Carpet Industries also produced the U.S. Supreme Court and U.S. Senate’s carpeting. 28 ENCOREATLANTA.COM

• The Fox replaces it carpet every 18-20 years. • A recent carpet installation took 21 days and more than 900 people hours to complete. • In January, carpet was installed in the gallery section of the auditorium, covering the original linoleum flooring so it looks uniform with the rest of the theater. This is the first time since opening day in 1929 that carpet has covered this section of the auditorium. • Additional carpeting is always ordered for the Fox’s attic stock in case repairs are needed for existing carpeting. • The yarn was processed and dyed in North Georgia and woven in Pennsylvania.

FOX THEATRE ARCHIVES

• The Fox Theatre carpet design is based on photographs and a sample of the original carpet installed in 1929.


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FOX ENCORE :: FEBRUARY 2018 :: ALVIN AILEY AMERICAN DANCE THEATER  

Encore Atlanta is the official show program for the Fox Theatre, the Atlanta Symphony Orchestra, the Alliance Theatre and the Hertz Stage, T...

FOX ENCORE :: FEBRUARY 2018 :: ALVIN AILEY AMERICAN DANCE THEATER  

Encore Atlanta is the official show program for the Fox Theatre, the Atlanta Symphony Orchestra, the Alliance Theatre and the Hertz Stage, T...