Paul Kolnik News

The Ailey organization continues its mission of using dance to uplift and unite all people with the first-ever Ailey Spirit Benefit global broadcast on Thursday, June 11 at 7:30pm ET featuring the Alvin Ailey American Dance Theater, rising stars of Ailey II, young dancers from The Ailey School and students from AileyCamp.

During challenging times, the Ailey organization continues Alvin Ailey's legacy by inspiring people around the globe, reaching nearly 12 million people online. Ailey All Access, a series of streaming programming, including free weekly performance broadcasts, Ailey dancer curated short films and conversations, and more!

For over six decades, the Ailey organization has brought people together through dance performances and programs manifesting founder Alvin Ailey's belief that 'dance came from the people and that it should always be delivered back to the people.'

Hallelujah then for Ashley Bouder in 'Firebird' whose astounding technique combined with Stravnisky's score to dispel the evening's malaise.

Nostalgic rose-colored glasses so tint few works as The Nutcracker. Its music, its images, its audience of children, either mesmerized or fidgeting in their Sunday best, have become annual staples of the Christmas season. Balanchine's 1954 staging of the ballet is its quintessential manifestation. As with all things Balanchine, it is a feat of harmonious contradictions; instead of his more academic ventures that seek to marry the aristocratic form with the fashionable modern, The Nutcracker is a practice in elegant nostalgia. Perhaps Balanchine felt this nostalgia for a Russia that was long gone; Stalin died the previous year, leaving behind a Russia that held no resemblance to the first act fete. That the choreographer was capable of conjuring these charming visions of a dreamlike childhood, while not sacrificing his pioneering vocabulary, is a testament to his genius

After experiencing a performance like last night's one yearns for another 1000 years of revelations. In keeping with honouring the affiliated school's anniversary, it feels comforting to know that there is a clear pipeline for keeping the company strong. Here's to a continued vision of strength in 2020.

I think I've seen Jewels at least 200 times in my life. Notwithstanding all the performances-excellent, good, mediocre, or just beyond mention, the ballet always yields rewards in its seemingly abundant outpouring of music and dance. We all know Stravinsky and Tchaikovsky from so many Balanchine ballets. Who would have thought of Gabriel Fauré?

Disney Plus gave a series order to On Pointe, a documentary series about the School of American Ballet, according to Variety.

The complete cast is set for ROCK OF AGES Hollywood, which will open this fall at a specially built performance venue and nightlife destination on Hollywood Boulevard named after the venue at the center of the show, The Bourbon Room.

Deciding where to go for college or university is nothing short of daunting. To help out, we're rounding up some of the top theatre schools to give students some stats to consider when getting ready to apply or even transfer.

Chicago the Musical will paint the town February 18-23, 2020. Anchorage Concert Association presents the smash hit as part of its 2019/2020 season lineup, which also includes Disney's The Little Mermaid, Wild Kratts Live!, and The Piano Guys.

Artistic Director Robert Battle has announced exciting highlights to Alvin Ailey American Dance Theater's Lincoln Center season at the David H. Koch Theater June 12 – 16. In addition to a world premiere by Darrell Grand Moultrie and recent premieres by some of today's most revered choreographers across three distinct programs – Bold Visions, Trailblazers, and Timeless Ailey – the engagement includes The Ailey Spirit Gala benefit celebrating the 50th Anniversary of The Ailey School; An Evening Honoring Carmen de Lavallade; and a series of special activities for people of all ages and backgrounds. The engagement also marks the debut of five new Company dancers.

New York City Ballet opened its spring season with a week of 21st-century ballets-no Balanchine, or Robbins, just anything that was created after 2000. Some prove eminently worthwhile and destined to remain in the company's repertoire for a long time; others, I'm not quite sure.

There is nothing negative I could possibly say about the performance I witnessed on April 4, 2019 at the Dorothy Chandler Pavilion.  Such artistry is almost hard to describe.  This company has an amazing history and is superb in both their interpretation and their amazing technique. Their 60-year history of excellence is a gift to our lives that must always Be. What more could you want? Extreme gratitude given to Glorya Kaufman, and Glorya Kaufman Presents Dance at the Music Center.  Ms. Kaufman is an Angel for the Arts in Los Angeles; especially for Dance. Supple strength that fluidly morphs until it hits a line that is as outstretched and aesthetically perfect as could be, and those are the visual pictures they create with their bodies.  It is a way of moving that combines all the elements of different opposites that we feel, react to and dream of, painting a visual picture, conveying expressive perceptions.  

Dear Readers, in my capacity as a reviewer and as a musical theater geek at large, I've been privileged to witness more than a few out of town tryouts, those plucky wanna-be Broadway shows taking a shot in another city. Both here at home and abroad, I occasionally get a glimpse at greatness in the making, and yes, some at the 5th Avenue Theatre. I remember marveling at the glory of 'Memphis' and not being able to contain my enthusiasm or stay in my seat during the curtain call of 'Hairspray'. But not all are winners. (I'm looking at you, 'Princesses'.) So, each and every time the 5th Avenue announces their next great new musical, I'm a little trepidatious even when the show is from two of my favorite composers, Lynn Ahrens and Stephen Flaherty, not to mention directed and choregraphed by the indomitable Susan Stroman. So along came 'Little Dancer' which many whom I mentioned it to thought was an Elton John jukebox musical. (Wrong lyric, guys. That's 'Tiny Dancer'.) Then the show was changed to 'Marie', possibly owing to such confusion and finally to 'Marie, Dancing Still'. But whether they want to call it 'Little Dancer', or 'Marie, Dancing Still' or 'How Degas Got His Groove Back', what they have is a bona fide, must see, must cry throughout, accept no substitutes, hit in the making and a definite addition to my list of shows I was honored to catch early on.

Sometimes ballet can be tricky. It's an art form that, when misunderstood, can come off as stuffy and out-of-date. Neither of those labels are an accurate description of the program New York City Ballet is showcasing at the Kennedy Center. With a skillful blend of contemporary and classic techniques, there's something for everyone in this thrilling presentation.

The new artistic director and co-director of the New York City Ballet looked a little nervous Tuesday as they awkwardly welcomed the Kennedy Center audience to their annual week-long residency.

Peck and Louise Pitre play Marie  - young and adult, respectively. We sat down with Pitre to talk about creating the role of Adult Marie in the 5th Avenue Theatre production during early previews.

It's become second-nature for many in the dance world to refer to Jerome Robbins as a second rate choreographer these days. Or should I say even 40 years ago?

The NYCB's five-part 'Classic NYCB' program, performed this past Wednesday, February 6th at Lincoln Center, featured a broad choreographic landscape. Through the work of four choreographers and spanning four decades, the evening featured not only the 'Classic NYCB,' as promised by the program title, but also a rare brand of 'Iconoclastic NYCB.' While some audiences might be nostalgic for the glory of 50's Balanchine, this evening proved that perhaps the best is yet to come and that even Balanchine did not shy away from experimentation as he reached towards artistic relevancy.