Alvin Ailey American Dance Theater 2526 Casting

Casting

Tuesday, April 7, 2026 at 7:30pm

CASTING INFORMATION

Blink of an Eye
(2011, Company Premiere 2025, Bay Area Premiere)
Choreography by Medhi Walerski
Staged by Valentina Scaglia
Music by Johann Sebastian Bach, performed by Itzhak Perlman
Costumes by Medhi Walerski
Costumes redesigned by Jon Taylor
Original Lighting by Nicole Pearce

A moment—brief yet infinite. Blink of an Eye explores the fragile boundary between presence and absence, change and stillness. Echoing Bach’s Partitas for Solo Violin, the work traces a dialogue between rigor and freedom, structure and emotion, the earthly and the divine. Through movement that flows like sound, it reflects on how everything can shift, disappear, or begin again in the blink of an eye.

Caroline T. Dartey, Ashley Kaylynn Green, Jacquelin Harris, Hannah Alissa Richardson, Isaiah Day, Mason Evans, Sebastian Garcia, Xavier Mack

Alvin Ailey American Dance Theater’s company premiere performances of Blink of an Eye are supported by commissioning funds from New York City Center.

Blink of an Eye was also made possible with support by Leanne Lachman.

Medhi Walerski is currently Artistic Director of Ballet BC. Raised in France, Walerski danced at the Paris Opera Ballet and the Ballet du Rhin before joining the Nederlands Dans Theater in 2001. For more than a decade, he was an integral part of the company, contributing to the creative, innovative style for which NDT is famous. Walerski was awarded the prestigious Dutch dance prize VSCD Zwaan in 2013. He has worked closely with many renowned choreographers, creating alongside and performing works by Jiří Kylián, William Forsythe, Ohad Naharin, George Balanchine, Rudolf Nureyev, Paul Lightfoot and Sol Leon, Crystal Pite, Johan Inger, and Wayne McGregor, among others. Walerski’s choreographic debut was in 2008 for NDT 2. Since then, he has created numerous acclaimed works for NDT and Ballet BC including Petite Cérémonie (2011), Chamber (2012), GARDEN (2016), Silent Tides (2021), just BEFORE right AFTER (2022), Pieces of Tomorrow (2024), and Last light (2025), as well as works for Bern Ballet, Goteborg Ballet, the Ballet State of Georgia, StaatBallet Hannover, Staattheater Wiesbaden, and Charlotte Ballet.

Allemande from Johann Sebastian Bach’s Violin Partita No. 2 in D minor, BWV 1004; Adagio and Presto from Violin Partita No. 1 in G minor, BWV 1001

PAUSE

Song of the Anchorite
(2025, Bay Area Premiere)
Choreography by Jamar Roberts
Music composed by Maurice Ravel, performed by Avishai Cohen, Yonathan Avishai, Barak Mori, and Ziv Ravitz
Costume by Jon Taylor and Jamar Roberts
Lighting by Yi-Chung Chen
Scenic Design by Joseph Anthony Gaito

Alvin—
To you, I offer my eternal debt of gratitude for leaving behind a legacy of truth, power, beauty, and spirit. Because of you, we are seen.
—Jamar Roberts

Yannick Lebrun

Alvin Ailey American Dance Theater’s world premiere performances of Song of the Anchorite are supported by Celestine & Howard Campbell.

Jamar Roberts, from Miami, FL, was Resident Choreographer of Alvin Ailey American Dance Theater from 2019–2022. Roberts has set six previous works on the company to critical acclaim: Members Don’t Get Weary (2016), Ode (2019), A Jam Session for Troubling Times (2020), Holding Space (2021), In a Sentimental Mood (2022), and Al-Andalus Blues (2024). He also set Gemeos on Ailey II. Roberts is a graduate of the New World School of the Arts and The Ailey School and has danced for Alvin Ailey American Dance Theater, Ailey II, and Complexions. He won the 2016 New York Dance and Performance (“Bessie”) Award for Outstanding Performer and has appeared as a guest artist with the Royal Ballet in London. Commissions include DanceAspen, Miami City Ballet, San Francisco Ballet, ABT Studio Company, Martha Graham Dance Company, LA Dance Project, Vail Dance Festival, Fall for Dance, Juilliard, BalletX, MoveNYC, New York City Ballet, and Works and Process at the Guggenheim, where he created the films Cooped and A Chronicle of a Pivot at a Point in Time. The March on Washington Film Festival invited Roberts to create a tribute to John Lewis, and he has also made a film for LA Opera entitled The First Bluebird in the Morning. Roberts was a Director’s Fellow at NYU’s Center for Ballet and currently serves as an Arnhold Creative Associate at large and distinguished visiting faculty at the Juilliard School.

Adagio assai from Maurice Ravel’s Piano Concerto in G major

INTERMISSION

Difference Between
(2025, Bay Area Premiere)
Choreography by Matthew Neenan
Music written and performed by Heather Christian & the Arbornauts
Costumes by Karen Young
Lighting by Brandon Stirling Baker

For Difference Between, I was deeply inspired by the intricate orchestrations and powerful lyrics of acclaimed singer/songwriter Heather Christian. Her raw vocal power evoked—to me—an intricate world of strange tensions, potent griefs, and quiet loves.
—Matthew Neenan

Difference between. Deference, reverence, sever its shoots on the bean Sanity, brevity, bravery, levity—these are the virtues are any restored or recorded or pored over once the romance of it leaves?
—Heather Christian, “Tomorrow”

Caroline T. Dartey, Isaiah Day, Mason Evans, Samantha Figgins, Sebastian Garcia, Xavier Mack, Alisha Rena Peek

Alvin Ailey American Dance Theater’s world premiere performances of Difference Between are supported by The Pamela D. Zilly and John H. Schaefer New Works Endowment Fund and The Fred Eychaner New Works Endowment Fund.

Matthew Neenan, described as “one of America’s best dance poets” by the New York Times, began his dance training at the Boston Ballet School and later attended LaGuardia High School of Performing Arts and the School of American Ballet. From 1994–2007, he danced with the Pennsylvania Ballet (now Philadelphia Ballet), where he performed numerous principal roles in the classical, contemporary, and Balanchine repertoire. From 2007–2020, he served as Choreographer in Residence, creating 20 original ballets. Neenan’s choreography has been performed by New York City Ballet, Pacific Northwest Ballet, Washington Ballet, Ballet West, Smuin Contemporary Ballet, Ballet Met, Colorado Ballet, Ballet Memphis, Milwaukee Ballet, Oregon Ballet Theatre, Tulsa Ballet, Kansas City Ballet, Nashville Ballet, Parsons Dance, BODYTRAFFIC, Vail Dance Festival (where Neenan has created five world premieres), Juilliard Dance, and USC Kaufman School of Dance. He has received awards and grants for his choreography from the National Endowment for the Arts, Dance Advance funded by the Pew Charitable Trusts, the Choo San Goh Foundation, the Independence Foundation, the Pennsylvania Council on the Arts, New York City Ballet Choreographic Institute’s Fellowship Initiative, Sacramento Ballet’s Capital Choreography Competition, and the Jerome Robbins NEW Program Fellowship. In 2019, he directed the Contemporary Ballet Program at Jacob’s Pillow. In 2005, Neenan co-founded BalletX with fellow dancer Christine Cox. BalletX has performed his choreography nationally and internationally at such prestigious institutions as the Joyce Theater, New York City Center, and Vail International Dance Festival. Neenan’s ballet The Last Glass (2013) was on listed on the New York Times’ Top 10 list.

“Holy Roller,” “Sip o Water,” “Machu Picchu,” “Tomorrow,” “The End (Whatever),” “That’s the Truth,” and “The Wicked” rights administered by Kobalt Music Publishing

INTERMISSION

Revelations
(1960)
Choreography by Alvin Ailey
Music: Traditional
Décor and Costumes by Ves Harper
Costume dresses for “Move, Members, Move” redesigned by Barbara Forbes
Lighting by Nicola Cernovitch

PILGRIM OF SORROW

I Been ‘Buked (Arranged by Hall Johnson*)
The Company

Didn’t My Lord Deliver Daniel (Arranged by James Miller+)
Xavier Mack, Jessica Amber Pinkett, Corrin Rachelle Mitchell

Fix Me, Jesus (Arranged by Hall Johnson*)
Sarah Daley-Perdomo, Christopher R. Wilson

TAKE ME TO THE WATER

Processional/Honor, Honor (Adapted and arranged by Howard A. Roberts)
Mason Evans, Miranda Quinn, Sebastian Garcia, Jesse Obremski

Wade in the Water (Adapted and arranged by Howard A. Roberts; “Wade in the Water” sequence by Ella Jenkins; “A Man Went Down to the River” is an original composition by Ella Jenkins)
Jacquelin Harris, Renaldo Maurice, Constance Stamatiou

I Wanna Be Ready (Arranged by James Miller+)
Yannick Lebrun

MOVE, MEMBERS, MOVE

Sinner Man (Adapted and arranged by Howard A. Roberts)
Christopher Taylor, Sebastian Garcia, Patrick Coker

The Day is Past and Gone (Arranged by Howard A. Roberts and Brother John Sellers)
The Company

You May Run On (Arranged by Howard A. Roberts and Brother John Sellers)
The Company

Rocka My Soul in the Bosom of Abraham (Adapted and arranged by Howard A. Roberts)
The Company

* used by arrangement with G. Schirmer, Inc., publisher and copyright owner.
+ used by special arrangement with Galaxy Music Corporation, New York City.

All performances of Revelations are permanently endowed by a generous gift from Donald L. Jonas in celebration of the birthday of his wife, Barbara, and her deep commitment to the Alvin Ailey American Dance Theater.

Wednesday, April 8, 2026 at 7:30pm

CASTING INFORMATION

Jazz Island
(2025, Bay Area Premiere)
Directed and choreographed by Maija García
Adapted from Black Gods, Green Islands by Geoffrey Holder
Created in collaboration with the artists of Alvin Ailey American Dance Theater
Original Music by Etienne Charles
Costumes by Carlton Jones
Lighting and Scenic Design by Al Crawford
Artistic Associate: Kafi Pierre

Jazz Island reimagines a Caribbean folk tale from Geoffrey Holder’s Black Gods, Green Islands (1959).

Erzulie, the Afro-Haitian Goddess of Love, emerges from the sea to rekindle forgotten rituals of devotion. Among the lively marketplace, she encounters Bashiba, whose grandmother Grandé Bousuet arranges her marriage to the wealthy Monsieur Dufresne. Bashiba’s heart, however, belongs to the traveler Jean-Claude Louis.

As Baron Samedi, guardian of the dead, stirs chaos through deceit and poison, Erzulie summons ancestral forces and the women of the village to restore balance. Through ritual, remembrance, and divine intervention, the community rediscovers the enduring power of love.

Erzulie: Caroline T. Dartey
Baron Samedi: Yannick Lebrun
Bashiba: Jessica Amber Pinkett
Claude Jean-Louis: Solomon Dumas
Grande Bousuet: Samantha Figgins
Monsieur Dufresne: Mason Evans
Ti George: Renaldo Maurice
Safiya: Hannah Alissa Richardson
Bocor: Sebastian Garcia
Goddess Devotees: Alisha Rena Peek, Xavier Mack
Marketplace: Kali Marie Oliver, Christopher R. Wilson

Alvin Ailey American Dance Theater’s world premiere performances of Jazz Island are supported by Tracy Elise Poole, Cynthia & Robert Schaffner, and Vera F. Wells.

Maija García is a visionary Cuban American artist renowned for her work in theater, film, television, music, dance, and live installations. As Director of the Capri Theater in Minneapolis, García engages historical narratives to develop innovative work that moves culture forward. She served as Director of Movement for Spike Lee’s Oscar-winning Blackkklansman, CHI-RAQ, and She’s Gotta Have It on Netflix. She also worked alongside Bill T. Jones to choreograph FELA!, the Tony Award-winning musical on Broadway and at the National Theatre of London and became Creative Director of the FELA! world tour and FELA! The Concert. As a stage director, García has helmed productions that range from original musicals to bilingual classics. Her choreographic works include the first original choreography for West Side Story at the Guthrie Theater, Kiss My Aztec, Snow in Midsummer, Cuba Libre, Another Word for Beauty, Hatuey: Memory of Fire, and Fats Waller Dance Party. She founded Organic Magnetics to generate urban folklore for the future and to develop sustainable solutions through the arts. García wrote, directed, and produced Ghosts of Manhattan: 1512–2012, an interactive history, an immersive experience in Fort Tryon Park, and I Am NY: Juan Rodriguez, about New York’s first immigrant at El Museo del Barrio. As Director of Education and Professional Training at the Guthrie Theater from 2018–2025, García programmed advanced training for actors and developed digital theater curriculum for educators. She earned a degree in Sustainable Development from the California Institute of Integral Studies in 2005 and is a professor of practice at NYU Grad Acting, City College of New York, and Yale University.

INTERMISSION

Embrace
(2025, Bay Area Premiere)
Choreography by Fredrick Earl Mosley
Music by Various Artists
Rehearsal Associates: Amir Baldwin, Tara Bellardini, and Manuela Sanchez
Costumes by Jon Taylor
Lighting by Josh Monroe
Scenic Design by Joseph Anthony Gaito

Embrace examines the ups and downs of human connections— messy, beautiful, and everything in between. This piece explores what it takes to love deeply, heal fully, and embrace the journey with open arms.

Shawn Cusseaux, Sarah Daley-Perdomo, Isaiah Day, Samantha Figgins, James Gilmer, Renaldo Maurice, Alisha Rena Peek, Jessica Amber Pinkett, Hannah Alissa Richardson, Christopher Taylor

Alvin Ailey American Dance Theater’s world premiere performances of Embrace are supported by Michele & Tim Barakett, Maury & Joseph Bohan, Julie C. Down, Denise Littlefield Sobel, The Ellen Jewett and Richard L. Kauffman New Works Endowment Fund, and The Jeanne Greenberg Rohatyn & Nicolas Rohatyn New Works Endowment Fund.

Fredrick Earl Mosley is a dance educator and Founder/Director of Diversity of Dance Inc., which encompasses the programs Earl Mosley’s Institute of the Arts, Hearts of Men, and Dancing Beyond. Part of his mission is to educate, entertain, and use dance to enhance and enrich lives, even in the most adverse circumstances. Mosley’s choreographic credits include creations for schools including Marymount Manhattan College, Muhlenberg College, The Joffrey Ballet Trainee Program, Rosie’s Theater Kids, National Dance Institute, Dance Institute of Washington, Montclair State University, The Ailey School, Hofstra University, Rutgers University, Adelphi University, and numerous other universities and institutions, both nationally and internationally. He was awarded Teacher of the Year by Dance Teacher magazine in 2005 and received the Outstanding Artists Award from the Connecticut Dance Alliance in 2012 in recognition of his commitment to and love of mentoring and encouraging young dancers to reach for their dreams. In 2016, Mosley received the Mid-Career Award from the prestigious Martha Hill Dance Fund, and in 2018, he received the Elisa Monte Lifetime Achievement Award. He was the 2021–2022 National Dance Institute Helen Stambler Neuberger Artist in Residence and the 2022 Muhlenberg College Theater and Dance Department’s Baker Artist in Residence. Most recently, he received the 2025 Jose Limón Foundation Award for Innovation in Education. Mosley believes in diversity in art and the life experiences that each person brings to the process of creating dance that entertains, educates, and heals the human spirit.

“Never Dreamed You’d Leave in Summer” written by Stevie Wonder and Syreeta Wright, rights administered by Sony/ATV Music Publishing. “At Last” written by Harry Warren and Mack Gordon, rights administered by CoccoMusic, LLC. “This Woman’s Work” written by Kate Bush, rights administered by Sony/ATV Music Publishing. “What About Us” written by Johnny McDaid and Steve Mac, rights administered by Universal Music Group, Sony/ATV Music Publishing, and Kobalt Music Publishing. “Photograph” written by Ed Sheeran and Johnny McDaid, rights administered by Sony/ATV Music Publishing and Concord Music Publishing. “Kissing You” written by Des’ree and Timothy Atack, rights administered by Faber Music.

INTERMISSION

PILGRIM OF SORROW

I Been ‘Buked (Arranged by Hall Johnson*)
The Company

Didn’t My Lord Deliver Daniel (Arranged by James Miller+)
Shawn Cusseaux, Deidre Rogan, Isabel Wallace-Green

Fix Me, Jesus (Arranged by Hall Johnson*)
Sarah Daley-Perdomo, James Gilmer

TAKE ME TO THE WATER

Processional/Honor, Honor (Adapted and arranged by Howard A. Roberts)
Xavier Mack, Alisha Rena Peek, Xavier Logan, De’Anthony Vaughan

Wade in the Water (Adapted and arranged by Howard A. Roberts; “Wade in the Water” sequence by Ella Jenkins; “A Man Went Down to the River” is an original composition by Ella Jenkins)
Hannah Alissa Richardson, Solomon Dumas, Corrin Rachelle Mitchell

I Wanna Be Ready (Arranged by James Miller+)
Christopher R. Wilson

MOVE, MEMBERS, MOVE

Sinner Man (Adapted and arranged by Howard A. Roberts)
Xavier Logan, Sebastian Garcia, Mason Evans

The Day is Past and Gone (Arranged by Howard A. Roberts and Brother John Sellers)
The Company

You May Run On (Arranged by Howard A. Roberts and Brother John Sellers)
The Company

Rocka My Soul in the Bosom of Abraham (Adapted and arranged by Howard A. Roberts)
The Company

* used by arrangement with G. Schirmer, Inc., publisher and copyright owner.
+ used by special arrangement with Galaxy Music Corporation, New York City.

Thursday, April 9, 2026 at 7:30pm

CASTING INFORMATION

The Holy Blues
(2025, Bay Area Premiere)
Conceived and Directed by Jawole Willa Jo Zollar in collaboration with choreographers Samantha Figgins and Chalvar Monteiro
Assistant Director: Vincent E. Thomas
Collaborative Dramaturg: Cheri L. Stokes
Music by Various Artists
Costumes by Jon Taylor
Lighting by Yi-Chung Chen
Scenic Design by Joseph Anthony Gaito

“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.”
—Alvin Ailey

“… But I want to talk about the blues not only because they speak of this particular experience of life that manages to make this experience articulate. I am engaged, then, in a discussion of craft or, to use a very dangerous word, art. And I want to suggest that the acceptance of this anguish one finds in the blues, and expression of it, creates also, however odd this may sound, a kind of joy.”
—James Baldwin

Patrick Coker, Shawn Cusseaux, James Gilmer, Ashley Kaylynn Green, Renaldo Maurice, Miranda Quinn, Hannah Alissa Richardson, Christopher Taylor, Christopher R. Wilson

Alvin Ailey American Dance Theater’s world premiere performances of The Holy Blues are supported by Crawford Parker, M.D., Danielle I. Schanz, and The Kansas City Friends of Alvin Ailey – Sara & Bill Morgan New Works Endowment Fund.

Jawole Willa Jo Zollar earned her BA in dance from the University of Missouri at Kansas City and an MFA in dance from Florida State University. In 1984, she founded Urban Bush Women (UBW) as a performance ensemble dedicated to exploring the use of cultural expression as a catalyst for social change. Zollar serves as director of UBW’s Summer Leadership Institute and is the Nancy Smith Fichter Professor of Dance and Robert O. Lawton Distinguished Professor at Florida State University. She has received fellowships from United States Artists (2008), the John Simon Guggenheim Memorial Foundation (2009), and the John D. and Catherine T. MacArthur Foundation (2021). Zollar received the Doris Duke Performing Artist Award and honorary degrees from Columbia College, Chicago; Tufts University; Rutgers University; and Muhlenberg College in Allentown, PA. She received the Dance Magazine Award (2015), the Dance/USA Honor Award (2016), and the New York Dance and Performance (“Bessie”) Lifetime Achievement in Dance Award (2017). In 2020, The Ford Foundation recognized Urban Bush Women as one of America’s Cultural Treasures. Zollar received the 2021 Dance Teacher Award of Distinction, the 2022 APAP Honors Award of Merit, and the Dorothy and Lillian Gish Prize. Most recently, she received the 2024 Samuel H. Scripps/American Dance Festival Lifetime Achievement Award.

Chalvar Monteiro hails from Montclair, NJ, trained at Sharron Miller’s Academy for the Performing Arts, and received his BFA from the Conservatory of Dance at SUNY Purchase. As a performer, Monteiro has worked with Sidra Bell Dance New York, Elisa Monte Dance, Keigwin+Company, A.I.M by Kyle Abraham, BODYTRAFFIC, GALLIM, Ailey II, and Alvin Ailey American Dance Theater. In 2019, Monteiro performed in The Cunningham Trust’s Night of 100 Solos: A Centennial Event and he has since participated in numerous events with The Cunningham Trust. As a dancemaker, Monteiro has presented his choreography across the country; he also founded THE MNTRO PRJCT in 2024, which debuted at the 2024 Fire Island Dance Festival. He was awarded a residency at Baryshnikov Arts Center to further develop and present his choreographic research and created new work at UNCSA’s Choreographic Institute. His ballet Berry Dreamin is currently in Ailey II’s repertory. Monteiro’s choreography has also been presented at Lincoln Center, Fordham University, Asbury Park Dance Festival, and the Conservatory of Dance at SUNY Purchase. He has led technique classes and repertory workshops nationally and internationally. As a choreographic assistant and collaborator, Monteiro has assisted Kyle Abraham on numerous ballets, including those for A.I.M by Kyle Abraham, New York City Ballet, Princeton University, Wendy Whelan’s Restless Creature, American Ballet Theatre, and Alvin Ailey American Dance Theater. He joined the faculty at NYU Tisch School of the Arts in 2020 and was appointed Visiting Arts Professor in the fall of 2025.

See page 11C in your program book for Samantha Figgins’ biography.

“One More River to Cross” written by Rev. James Cleveland, published by Music and Media International. “Jubilee” and “Oh, Lord, I Want You to Help Me” by The McIntosh County Shouters, published by Smithsonian Folkways. “Dark Was the Night, Cold Was the Ground” written by Blind Willie Johnson. “Smokestack Lightning” written by Howlin’ Wolf, published by BMG. “Willow Weep for Me” written by Ann Ronell, published by Songwriters Guild of America. “Peace Be Still” written by Rev. James Cleveland, published by Sony Music Publishing.

INTERMISSION

Samantha Figgins, Kali Marie Oliver, Alisha Rena Peek, Constance Stamatiou, Patrick Coker, James Gilmer, Renaldo Maurice, Christopher Taylor

Alvin Ailey American Dance Theater’s company premiere performances of Blink of an Eye are supported by commissioning funds from New York City Center.

Blink of an Eye was also made possible with support by Leanne Lachman.

Allemande from Johann Sebastian Bach’s Violin Partita No. 2 in D minor, BWV 1004; Adagio and Presto from Violin Partita No. 1 in G minor, BWV 1001

PAUSE

A Case of You
(2004, New Production 2025, Bay Area Premiere)
Choreography by Judith Jamison
Staged by Clifton Brown
Music by Joni Mitchell, performed by Diana Krall
Lighting by Al Crawford
Costumes by Jon Taylor

Jessica Amber Pinkett, Jesse Obremski

This new production of A Case of You is made possible by Leigh F. Butler, Victoria Cerami, Judith McDonough Kaminski & Joseph Kaminski, Red Moose Charitable Trust, and Daria L. and Eric J. Wallach.

INTERMISSION

Grace
(1999, New Production 2024)
Choreography by Ronald K. Brown
Rehearsal Associate: Arcell Cabuag
Music by Various Artists*
Costumes by Omatayo Wunmi Olaiya
Lighting by Tsubasa Kamei

Hannah Alissa Richardson, Caroline T. Dartey, Corrin Rachelle Mitchell, Miranda Quinn, Deidre Rogan, James Gilmer, Christopher Taylor, Yannick Lebrun, Renaldo Maurice, Shawn Cusseaux, Jesse Obremski

This new production of Grace is supported by Maury & Joseph Bohan and Catherine & Bill Miller.

The original production of Grace was made possible by Elizabeth Marsteller Gordon and Natasha Leibel Levine, M.D. & Harlan B. Levine, M.D.

The creation of this work was made possible in part by AT&T, the John S. and James L. Knight Foundation, and The Harkness Foundation for Dance.

Ronald K. Brown is an advocate for the growth of the African American dance community and uses movement as a way to acquaint audiences with the beauty of traditional African forms and rhythms. Brown founded Brooklyn-based EVIDENCE, A Dance Company in 1985 and has also set works on Alvin Ailey American Dance Theater, Ailey II, Cleo Parker Robinson Ensemble, Dayton Contemporary Dance Company, Jennifer Muller/The Works, Jeune Ballet d’Afrique Noire, Ko-Thi Dance Company, PHILADANCO!, and others. Brown choreographed Regina Taylor’s award-winning play, Crowns, for which he won an AUDELCO Award. In addition, he has received a John Guggenheim Memorial Fellowship, a National Endowment for the Arts Choreographers Fellowship, a New York Foundation for the Arts Fellowship, and a United States Artists Fellowship, among others.

* “Come Sunday” by arrangement with G. Schirmer, Inc. publisher and copyright owner. Composed by Duke Ellington. Performed by Jimmy McPhail. “Gabriel” performed by Peven Everett and Roy Davis Jr. Published by Studio Confessions (ASCAP) and Warner Chappell Music Ltd (PRS). Licensed exclusively from Large Music, LLC. All Rights Reserved. 1996. “Bless It” by Paul Johnson. Recorded at Undaground Therapy Music Studios Chicago, IL. “Rock Shock” written and produced by Roy Davis, Jr., published by Roy Davis, Jr. Music (ASCAP). Recorded at Undaground Therapy Music Studios, Chicago, IL. “Shakara” by Fela (Anikulapo) Kuti. Copyright Shanachie Entertainment Group. “Come Sunday” by arrangement with G. Schirmer, Inc., publisher and copyright owner. Composed by Duke Ellington. Performed by Jennifer Holliday.