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AAADT in Johan Inger's Walking Mad

Repertory

Walking Mad

COMPANIES

CHOREOGRAPHER

WORLD PREMIERE

New York City Center, 2016

REHEARSAL ASSISTANT

Yvan Dubreuil

RUN TIME

28 Minutes

MUSIC

“Boléro” Composed by Maurice Ravel © Editions DURAND S.A. obo REDFIELD BV. & NORDICE BV. Recording with Orchestre de Montreal, Conductor CHARLES DUTOIT (1980), By arrangement with Boosey & Hawkes, Inc., Sole Agent in the US, Canada and Mexico for Durand S

COSTUMES

Johan Inger

COSTUME PROJECT MANAGER

Rebecca Josue

LIGHTING

Erik Berglund

Johan Inger’s daring, contemporary take on Ravel’s Bolero brings waves of emotion—first laughter, then tears—and employs a long, movable wall that can be a physical partition, or a symbol of the barriers people construct in their relationships. A cunning choreographer, Inger knows how to keep the audience laughing with the dancers’ vaudevillian antics to effectively hit them with a sudden pivot toward angst, as when the music switches to Arvo Pärt's “Für Alina” at the end.

 

Behind the Scenes: Alvin Ailey American Dance Theater in "Walking Mad"

A group of dancers perform a synchronized kick, holding jackets in their hands. They wear dark hats and are illuminated by a row of stage lights above. The background features wooden panels on a dark stage.

Members of the Company in Walking Mad Paul Kolnik

A group of dancers jump in unison with their arms outstretched, facing away from the audience. They wear dark hats and hold jackets, performing under a row of bright stage lights. The background features wooden panels and a dark stage.

Members of the Company in Walking Mad Paul Kolnik

Four dancers wearing red cone hats and colorful shirts (yellow, green, blue, and brown) lean forward with outstretched arms, chasing a dancer in a light gray dress who is running towards the right. The background features wooden panels.

Members of the Company in Walking Mad Paul Kolnik

A dancer in a light gray dress crouches near a wooden fence, looking up at another dancer in a red shirt and black pants climbing over the fence. The stage is dimly lit, emphasizing their movements.

Rachael McLaren and Chalvar Monteiro in Walking Mad Paul Kolnik

A dancer in a brown outfit kneels on one knee, reaching out towards another dancer in a red dress who is arching backward, holding a jacket in her extended arm. The background is dark, creating a dramatic scene.

Michael Francis McBride and Danica Paulos in Walking Mad Paul Kolnik

A dancer in a red dress hangs from the top of a wooden fence, with her feet off the ground. Another dancer peers over the top of the fence from the right side. Various clothing items are scattered on the stage below.

Danica Paulos and Michael Francis McBride in Walking Mad Paul Kolnik

Three dancers perform on a stage with a wooden fence backdrop. One dancer in a pink dress is lifted high by another dancer in black pants and a gray shirt, while a third dancer stands to the left, walking towards them. The stage is lit by a row of bright lights above.

Jamar Roberts, Jacquelin Harris, and Glenn Allen Sims in Walking Mad Paul Kolnik

Two dancers in white outfits perform on a dark stage, with one dancer standing behind the other, placing their hands gently on the other's face and neck. The stage is minimally lit, creating a dramatic contrast.

Jamar Roberts and Rachael McLaren in Walking Mad Paul Kolnik

A dancer in a pink dress supports a dancer in gray pants and shirt who is performing a one-handed handstand against a wooden fence. Their shadows are cast dramatically on the fence behind them.

Jacquelin Harris and Glenn Allen Sims in Walking Mad Paul Kolnik

A dancer in a gray outfit performs an intense pose on stage, holding another dancer tightly, with one hand covering their face. The background is completely black, highlighting the dramatic composition.

Rachael McLaren and Jamar Roberts in Walking Mad Paul Kolnik

Of all the dances I’ve seen inspired by the hypnotic crescendo of Ravel’s ‘Bolero,' this is the most interesting.

Sarah L. Kaufman, The Washington Post

Sponsors

Leadership support for Walking Mad was provided by The Pamela D. Zilly & John H. Schaefer New Works Endowment Fund.