Booked & Scene

Alvin Ailey American Dance Theater returned to Boston this week with a rich, powerful, and history-soaked program that feels as vital now as ever. From Afro-Pop pulses to moody Miles Davis to the enduring brilliance of Revelations, this is a night of dance that carries the weight of legacy and the thrill of fresh storytelling. All performances in this run are dedicated to celebrating Ailey’s late, beloved Artistic Director Emerita Judith Jamison.

Whether you’re a longtime Ailey fan or a newcomer, this performance series—running through Sunday, April 27—is a beautiful introduction (or reintroduction) to a company that moves with purpose and passion.

Grace Notes and Growing Pains  

Grace (1999, new production 2024)  | Choreography by Ronald K. Brown  

Marking its 25th anniversary, Grace opened the evening with a blend of sacred and secular, set to a score that swung from Duke Ellington to Fela Kuti. The lighting design stood out immediately—dim, glowing, divine—and lent the piece an almost cinematic quality. The Afro-Pop rhythm brought life to heavy themes, making the choreography feel both grounded and soaring.  

That said, there were a few moments that felt off, especially in dancer synchronicity and spacing. Whether this was an intentional choice or an off-night is unclear—but when a dance relies so heavily on group cohesion, these blips pull focus. Still, the emotional undercurrent and musicality made it a compelling 35 minutes.

Golden Age, Glorious Execution 

Al-Andalus Blues (2024)  | Choreography by Jamar Roberts  

This was the showstopper of the evening. Roberts takes us to the Golden Age of Al-Andalus and delivers an abstract, emotionally resonant masterwork. Backed by music from Roberta Flack and Miles Davis, the piece exuded sharp precision and clear storytelling through movement.  

Everything clicked here—the fluid yet bold costuming, razor-sharp lines, and that intangible but undeniable feeling of purpose. Al-Andalus Blues was powerful, haunting, and deeply affecting. It was, in every sense, a standout.

Ailey’s Crown Jewel  

Revelations (1960)  | Choreography by Alvin Ailey  

It’s the reason many buy a ticket—and for good reason. Revelations is a cultural landmark in motion. Whether it’s your first time seeing it or your fiftieth, the audience reaction says it all. Applause, vocal affirmations, and even a few tears filled the Wang Theatre during this iconic finale.

Personally, as someone who doesn’t come from a religious background, I didn’t connect to the spiritual overtones as deeply as some. But I still found joy and resonated with “Wade in the Water” and “You May Run On.” The costuming and strategic use of props added visual interest that set this piece apart from the previous two. It’s easy to see why this remains Ailey’s best-known and most beloved work.

Final Bow 

This was a lovely and layered night of dance—a mix of old and new, sacred and secular, sweeping history and intimate emotion. While I may not be the exact target audience, I’m glad to have experienced this company and its iconic works.  

Alvin Ailey American Dance Theater runs in Boston through Sunday, April 27 at the Boch Center Wang Theatre. Depending on the performance, you may see different dances in the lineup, but all shows close with Revelations—an enduring reminder of what makes Ailey’s work a gift to the stage.