Choreographer: Wayne McGregor
Music by Joby Talbot and The White Stripes
Wayne McGregor’s Chroma is a ballet filled with layered, beautiful dancing and astonishing lifts. The Ailey company premiere, made possible in part by the generous support of New York City Center, marks the first time a work by this multi award-winning British choreographer will appear in the Ailey repertory. Set to an amalgam of original music by Joby Talbot and orchestrations of music by Jack White III of The White Stripes, the work explores McGregor’s curiosity of a concept freed from whiteness and the drama of the human body. Created in 2006 for The Royal Ballet, a luminous, minimalist set designed by architect John Pawson uses motifs of inside and outside, entrance and exit, light and shadow, void and plenitude, to create a spatially charged environment explored through the medium of the ten dancers’ bodies.
Wayne McGregor CBE (Commander of the Order of the British Empire) is a multi award-winning British choreographer, renowned for his physically testing choreography and ground-breaking collaborations. He is the Artistic Director of Wayne McGregor | Random Dance, Resident Company at Sadler's Wells Theatre in London, Resident Choreographer of The Royal Ballet (appointed 2006) and frequent creator of new work for La Scala, Milan, Paris Opera Ballet, Nederlands Dans Theatre, Stuttgart Ballet and New York City Ballet; as well as movement director for theatre, film (Harry Potter and the Goblet of Fire) and music video (Radiohead's Lotus Flower). His recent productions include new work for the Royal Ballet and National Gallery Titan Metamorphosis project (July 2012), a large-scale public dance work, Big Dance Trafalgar Square, in celebration of the London 2012 Olympics (July 2012), and a new work for San Francisco Ballet, Borderlands, which premiered in January 2013.
Robert Battle comments: “Planning works for the season is not an isolated event, but an ongoing process of developing the repertory and engaging the dancers. I’m also thinking of the audience having a unique and unexpected experience. With the commission of the remarkable Chroma, all of this though process is in play. I also still see so much of a connection to modern dance – use of torso, weight, and isolation. In speaking to Wayne McGregor, we were both interested in seeing how the Ailey dancers would interpret his work. Another one of the things that I love about mounting this ballet is that, because of the demands of the dynamic choreography and the striking set, it involves a team effort from the dancers and crew to everyone at Ailey.’