It’s a tale as old as time: a beautiful young girl’s family schemes to marry her into wealth, but she defies them by falling in love with a boy from the marketplace.
You’ve seen this romance unfold hundreds of times, but have you seen it as an Afro-Caribbean jazz ballet?
Hoping to offer fresh takes on timeless themes, the 32 dancers of Alvin Ailey American Dance Theater will bring new choreographies and Bay Area premieres to Cal Performances this month. Artistic Director Alicia Graf Mack said the four programs, running April 7-12, are crafted to bring audiences joy.
“In 2026, it is vital that we continue to inspire and uplift amidst all that’s happening in our world,” she said.
Also important to the company’s mission is accessibility, Associate Artistic Director Matthew Rushing said, who encourages new audiences to look for moments of resonance rather than worry about understanding the pieces. Its performances are events “where you could bring the uncle who would rather be at a baseball game and he would enjoy himself,” he explained.
“You’ll experience connection. (You’ll) glimpse yourself and your life onstage,” he went on. “Sometimes there isn’t a narrative, but there is something extremely beautiful that touches your heart.”
One way the company seeks to make dance more accessible is by engaging youth. While in town, the company will present two special performances for local schools.
“There are adults in the audience now who tell me that their first experience with live performance was when they were brought here as schoolchildren to see Ailey,” said Jeremy Geffen, executive and artistic director of Cal Performances, of the company’s long-running relationship with the region.
Here’s what to know before heading to Berkeley’s Zellerbach Hall for Alvin Ailey American Dance Theater’s latest Bay Area residency:
Program A — Tuesday, April 7
Right: Yannick Lebrun in Jamar Roberts’ “Song of the Anchorite,” inspired by Alvin Ailey’s “Hermit Songs.” | Credit: Paul Kolnik
This program features three Bay Area premieres, with a nod to founder Alvin Ailey.
For “Song of the Anchorite” (2025), choreographer Jamar Roberts took inspiration from Alvin Ailey’s “Hermit Songs” (1961), a solo dance Ailey created for himself depicting a medieval man’s intense religious vocation.
While there are no videos of Ailey performing “Hermit Songs,” only photos, research turned up footage of the choreographer directing a rehearsal. Roberts then created his own work based on these remnants, set to Israeli jazz trumpeter Avishai Cohen’s interpretation of an adagio by French composer Maurice Ravel. The result is a new mediation on passion and devotion that retains the simplicity and power of Ailey’s original piece.
“Difference Between” (2025) is Matthew Neenan’s choreographic debut with the dance company. Set to music by 2025 MacArthur Fellow Heather Christian, the ballet depicts community in tension, grief and romance.
Medhi Walerski, artistic director of the Nederlands Dance Theater, created an austere atmosphere for “Blink of An Eye” (2011/2025). The most technical of the new pieces, dancers wear stark black costumes and perform to rapid-fire Bach partita recorded by Israeli American violinist Itzhak Perlman. Though lacking the exuberance that characterizes this company, the work shows off the dancers’ virtuosity.
Program A concludes with Alvin Ailey’s renowned celebration of African American heritage, “Revelations” (1960).
Program B — April 8 and 11-12
This is the only program to feature a new work with a narrative plot, plus two Bay Area premieres. It’s also the only program with matinees.
“Jazz Island” (2025) is Cuban American choreographer Maija Garcia’s first work for the company. This love story is inspired by a Caribbean folktale and set to an original score by Trinidadian jazz trumpeter Etienne Charles. Despite its distinct setting on a Caribbean island, the facets of love portrayed — flirtatious, intimate, intense and anguished — are universal. (Bonus: The costumes are striking, particularly the goddess of love’s diaphanous blue skirts.)
“Embrace” (2025), choreographed by Ailey faculty member Fredrick Earl Mosley, is set to popular songs including Etta James’ “At Last,” Ed Sheeran’s “Photographs” and Des'ree’s “Kissing You.” The songs are so well-known that the dancers could sing along while rehearsing.
Program B concludes with “Revelations.”
Program C — April 9-10
Another nod to the company’s founder, “The Holy Blues” (2025) is a ballet founded in mentorship and collaboration.
The piece came about when Matthew Rushing inquired about veteran choreographer Jawole Willa Jo Zollar’s interest in working with Ailey dancers Samatha Figgins and Chalvar Monteiro, both of whom were aspiring choreographers. Together, they took inspiration from the ring shout, a ritual dance developed by enslaved Africans in the American South.
The ballet’s title is sourced from an entry in Alvin Ailey’s personal journal: “My roots are also in the Gospel church, the Gospel churches of the South where I grew up … holy blues — paeans to joy, anthems to the human spirit.”
Program C also includes Walerski’s “Blink of An Eye” and a refreshed production of Judith Jamison’s sensual duet, “A Case of You” (2004/2025), set to Diana Krall’s rendition of the classic Joni Mitchell song.
The program concludes with “Grace” (1999), a journey to the promised land choreographed by Ronald K. Brown.
Program D — April 11
This program includes “Blink of An Eye,” “The Holy Blues,” “A Case of You” and “Revelations.”
Caroline Chen is a freelance writer. This review is provided in partnership with the San Francisco Chronicle.
