MILESTONES FOR ALVIN AILEY AND LAR LUBOVITCH.
nder the leadership of Ailey empress Judith Jamison, the Ah’in Ailey American Dance Theater heads into its 35th anniversary season with a dancing-machine gleam and a refurbished repertory. Jerome Robbins, for instance, offered the company his N.Y. Export Op. Jazz, a beatnik work from 1958. The dancers look fab in it, if a little underexerted. But then, by 1960 they were reaclv for the life-and-death velocities ol Ailey’s vision—the speed, the heat, the runawavslave scare of Revelations ‘Sinner Man,” a drop-dead spectacle quite unlike anything else in dance. This season Jamison has contributed Hymn, an anniversarv homage to the Ailey aesthetic complete with voiceover by the actress Anna Deavere Smith. The company (212-7670590) will tour the country in April and
May, with one-week stints in Philadelphia, Baltimore, and Chicago.
Modern-dance man f ar Lubovitch has been up in lights lately for his work in ballet. American Ballet Theatre —I nabbed his “Ballet of the Red Shoes,” the climactic (and best) twenty minutes of the ill-fated Broadway musical Eke Red Shots, and has scheduled it lbr May 2, 4, 5, and 11 at Lincoln Center. Meanwhile, the Lar Lubovitch Dance Company, celebrating its 25th anniversary, will be at Chicago’s Sluibert Theatre April 28 to 30, after a tcn-vear absence. The engagement is a chance for Chicagoans to catch up with Lubovitch"s most famous work of the decade, Concerto Six Ewenty-Ewo (1985), which includes the gentle duet for two men which mav be dance’s most plaintive statement from the early age of AIDS. —L.J.
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Alvin Ailey Dance Theater