Alicia Graf Mack In Conversation

Alicia Graf Mack ‘in conversation’ with Deborah Weiss

8th September 2026

Susan Dalgetty Ezra, Chair of the London Ballet Circle, warmly welcomed Alicia Graf Mack to the evening’s conversation. Born in San Jose, CA, Alicia began her career with Dance Theatre of Harlem, rising to become a principal ballerina. She worked with many celebrated artists and companies, including the Alvin Ailey American Dance Theater (AAADT), for which she was a star performer, and is now Artistic Director of that company. Prior to this appointment she had been Dean and Director of the Dance Division at the Juilliard School in New York. Later in September AAADT will perform in London, at Sadler’s Wells. Tonight Alicia would be conversing with well-known dance writer and critic Deborah Weiss, who Susan also warmly welcomed.

Deborah opened the conversation by inviting Alicia to talk about her early life. You started dancing, I think, when you were only three and it became a bit more serious when you reached the age of twelve. When did you actually think that you wanted to be a ballet dancer? Alicia responded that she felt she had been a dancer from the moment she was born. Her parents recognised her gift for movement and she started creative movement classes at just two and a half. She has a videotape of herself on a cable TV show saying that she was going to be a ballerina – at just four….

When she was about eleven Alicia started training more seriously. Her potential was quickly recognised, so that at 17 and still in her senior high school year she took class with and then joined Dance Theatre of Harlem as a professional dancer. There she came under the influence of Arthur Mitchell, a quintessential coach who really helped her make the leap between student and professional artist.

For a ballet company, he had a very diverse way of thinking about dance and thus she had to come to terms with her body in both the classical and the contemporary realm. Arthur also saw her potential in other areas; for instance, he would take her to meet donors or to be his demonstrator for masterclasses. Naturally shy, these situations were not always comfortable for Alicia, but with hindsight she is enormously grateful to him for helping her develop skills out with that of being a dancer.

And then came serious injury, and a very difficult time. Alicia aspired to be a dancer; if asked who she was she would immediately respond that she was a dancer, before even giving her name. Dancing was what she did; she had no other real interests or talents. And at 21 she was living alone in New York. Both her mental and physical health plummeted to rock-bottom. ‘That’s the end’ she thought ‘but to survive life I must figure out something else to do’.

Accordingly she turned to academia and set herself upon a history degree course at Columbia University in New York City (NYC). To fund the course she secured a job with J P Morgan, her goal then being to work on Wall St. In fact, one summer she interned for the company in London, working with arts establishments such as the Royal Ballet and the V & A Museum, and in the process learning more about arts administration and funding which proved to be another developing interest. But dance kept calling her back….

Did you do the occasional class, inquired Deborah. Not at first, replied Alicia, I walked away from dance completely and became just a college student. In her second year she joined a social club – a praise ministry in which they would listen to gospel music and create dances which they would perform in different churches around NYC. Praise dancing is based heavily in sign language, which does not involve much use of the legs. Accordingly there was no need for any extensive warm-up and thus no need for class. Nevertheless ‘it fed my spirit; it fed my soul’, she said.

Then in her senior year Alicia started to take class with the dance department at Columbia. And being right in the heart of NYC she was also able to go to Steps on Broadway, to Broadway Dance Center, and to open classes anywhere. One such class, which fitted into her college schedule, was led by Milton Myers who was then resident teacher of Alvin Ailey American Dance Theater (AAADT, but hereafter referred to simply as Ailey). He inquired whether she wanted a professional career because she was obviously so talented but no, she’d been there, done that, and was headed for a career with J P Morgan when she graduated. He then introduced her to Judith Jamison, Artistic Director of Ailey, and that’s how the relationship began.

But before you took the first step towards Ailey you actually went back to Dance Theater of Harlem for a while, said Deborah. Yes, replied Alicia, in my senior year at college the bug really bit me again, I felt good, started taking more classes. And New York may be big but it’s also small – the word was spreading that Alicia Graf had been seen in class.

In this way she had met both Desmond (Richardson) and Dwight (Rhoden) of Complexions Contemporary Ballet and, seeking a summer job, asked whether they needed an intern to assist with marketing. The response was ‘No – but due to injury we do need a dancer – we heard you look great. Will you come on tour with us?’ Alicia thought ‘why not’, accepted, and started to train harder.

That same summer, Dance Theatre of Harlem was performing at Lincoln Center and something told Alicia that she had to go ‘home’, to time the way in which to finish, not just because of an injury. So she went to Arthur Mitchell, telling him that she missed them all so much. He responded in a similar vein and Alicia went on to say that she wanted to come back to the company. And not even having seen her dance again he invited her to return.

That was it; everything came back so easily. She undertook principal roles and felt she was dancing at her absolute best. Unfortunately, however, it was only for a year; in 2004, and following a longish tour in the UK, financial pressures forced closure of the company.

Deborah then wanted to explore Alicia’s relationship with Ailey. Originally through her sister, she said – she’s also a dancer, but modern rather than classical, and had attended Ailey summer intensive courses. So from very young Ailey had always been a part of Alicia’s life and cultural upbringing, particularly as a black woman. She often mused that when – finally – she took her pointe shoes off she wanted to finish her career with the Ailey company. But, due to the closing of Dance Theater, it all happened much sooner than she might have anticipated.

In her first week at Ailey she rehearsed Judith Jamison’s A Case of You, a duet in which she was partnered by Jamar Roberts, and which was to be a birthday gift for Joan Weill, at that time chair of the company board. This duet, originally based on a Joni Mitchell song, would be incorporated by Jamison into a longer work, Reminiscin’. This piece was a most significant marker in my life, said Alicia, and I know it has also been important to whoever’s danced it since.

She was with the company for some six years and then her autoimmune disease flared up again. Nevertheless, she was so grateful for those years, because when she went to college she had thought she wouldn’t dance again. So she left Ailey and enrolled on a two-year master’s degree programme, after which she taught at Webster University in St Louis, MO, known for its arts faculty. Again, the word travelled – Alicia is teaching all day and taking class with her students. Her body must be doing well.

In 2011, Judith Jamison, preparing for her last year as Artistic Director, asked Alicia if she would perform A Case of You for her final performances at Lincoln City Center. Once again she danced it with Jamar Roberts; Robert Battle, who was to take over from Judith, watched her and exclaimed that she was not ‘done dancing’. And, he said, wouldn’t it be amazing if we could start here together. So she went back to the company, where she stayed for a further three happy years, performing Alvin Ailey’s choreography and experiencing the way in which Robert Battle pursued his vision into the new century.

Alicia left Ailey in 2014 and went back to St Louis, where her husband was living, and to teaching, primarily at Webster University, when she saw a position advertised at the Juilliard School in New York – and she applied. The selection process was hard, but she didn’t have too many nerves because she regarded it all as a ‘dummy run’ to hone her interview skills. But then she was offered the job; the family moved back to the east coast and Alicia became Dean and Director of the Dance Division of the Juilliard School for the next seven years.

What was it like being on the other side – trying to grow the students, asked Deborah. What sort of skills did you have to learn? So many, Alicia responded, but recalling all those who over the years have been such generous and selfless teachers makes you realise that it’s now your responsibility to pass the torch on. Nurture them, not break them. Their talent is already special; you have to just blow the wind under their wings and allow them to take off. So many of her students are now leading the way in dance all round the world.

She was very happy working with students but was encouraged to consider applying for the Artistic Director post at Ailey when it became clear that Robert Battle was to step down for health reasons. She did not initially aspire to the job but eventually came to realise that Ailey had been part of her life for so long that she might really have something to offer the company. And as the long and involved interview process went on she gained more confidence and understanding. ‘Why not me?’ So that when she received the call to say that she had been selected, she cried. An earthquake moment, and a kind of full circle too.

The role of Artistic Director today is so much more complex than in, say, Arthur Mitchell’s day. It is an executive and administrative position, much more than simply creative – although that role remains paramount. Ailey is not just a single company, there is a second performing company as well, together with a large school of some thousand students and a huge community outreach programme.

As far as repertoire is concerned, what is your vision for the company, was Deborah’s next question. Alicia responded that she was absolutely grounded in Alvin Ailey’s vision of a modern dance company celebrating the Black experience. He had always wanted his dancers to be stretched in as many ways as possible and there was a huge body of work on which to draw. Different choreographers, both emerging and established, involving different movement styles and backgrounds; pioneers such as Martha Graham, Paul Taylor, José Limón, Merce Cunningham, together with Ailey’s own signature ballets such as Revelations, Night Creature. This latter is to music by Duke Ellington and is based on his friendship with the great musician.

The sense of inclusion and innovation integral to the company meant that a newly appointed director already had a blueprint of repertory curation to follow. Alicia says that her priority is to maintain the Ailey legacy but also try to construct a rounded programme. She will look for a visceral connection with the audience, many of whom might not see dance at any other time of the year. So while works may be complex and serious they must also have a level of accessibility which keeps the audience entertained and inspired.

Among the works the company is to bring to Sadler’s Wells this year will be Blink of an Eye by Medhi Walerski. Alicia had originally brought him to Juilliard to create this version of his ballet. A beautifully structured work which just makes the dancers sparkle, she said. This is the first time Ailey will have taken it overseas. Jamar Roberts will perform a solo Song of the Anchorite. Built on an Alvin Ailey original Hermit Song, which Jamar had danced many times while still in the company, it is performed to jazz music based on a Ravel piece.

Alicia then went on to talk about the Ailey School, which has around 1000 students in total, from all over the world. Through its various divisions, the school provides training for the very young right up to university level studies. The core curriculum is rooted in the various forms of modern dance, much of it using the Horton technique. She feels that the school is really the keeper of that technique because of Ailey’s connection with Lester Horton. The Graham technique is also a main stay of the school, although many other different styles are taught.

The professional division of the Ailey school offers the dance portion of a Bachelor of Fine Arts (BFA) degree in conjunction with Fordham University in NYC. The curriculum includes choreography and students are able to choreograph on each other, presenting their work in the company’s basement theatre. For instance, Holy Blues was created in collaboration with dancer Samantha Figgins who is also showing great promise as a choreographer.

And so to Revelations, said Deborah, I’ve been watching that ballet all my life! What makes it so enduring? It always seems so fresh and spontaneous! Alicia responded that probably every dancer came into the company because of the first time they saw that ballet. A genius of a work, so simple in construction; stating universal truths, a clear statement about who we are as human beings.

Finally a question from a member of the audience – would you encourage a daughter to become a dancer? Yes, said Alicia, my nine-year-old daughter is a dancer through and through! I don’t push her too much, although I’m always supporting from afar; I let her teachers do their thing.

And just to prove that she is not just a dancer, or an artistic director, or a business guru…Alicia introduced her new children’s book Introducing Rhythm which is about to hit the streets!

Susan thanked both Deborah and Alicia profusely for exploring her fascinating career. It was great to know that the Alvin Ailey legacy was in such safe hands! She thanked them most sincerely for sharing it all and spending their evening with the Circle; it had been delightful.