Albert Evans: A Life in Dance Cut Short

It was a shock to learn that Albert Evans had died at Mount Sinai Hospital on Monday evening, June 22nd, after [what the New York City Ballet spokesman described as] 'a short illness'.  Albert was a vital and vivid presence around the Lincoln Center campus for many, many years.  As a black man, he was a source of inspiration for a growing cadre of young black dancers -- students at the School of American Ballet and dancers in the Company -- Craig Hall, Taylor Stanley, Olivia Boisson, Silas Farley, Preston Chamblee -- still too few but many more than when he came on the scene.  As a man, he was inimitable -- gracious, funny, kind, thoughtful, supportive.

Albert Evans grew up in Atlanta, GA.  He first came to the School of American Ballet's for the Summer Session in 1982 when he was just 13.  In September 1986 he came back to the School's Winter Term on full scholarship.  While still a student at SAB, he was chosen by Elliot Feld to perform in 'The Unanswered Question' choreographed for New York City Ballet's American Music Festival in 1988.  It was one of Feld's surrealist circus pieces and Albert played a young man wearing a gold crown and twirling drumsticks as he marched slowly around the stage to a selection of short pieces by Charles Ives.  He was also chosen by William Forsythe as a last-minute substitute for his 'Behind the China Dogs' in that Festival. 

Albert Evans and Maria Kowroski in the pas de deux from Balanchine's 'Agon'.
Photo by Paul Kolnik for NYC Ballet

Albert was invited to join the Company's corps de ballet later in 1988 and was promoted to soloist in 1991 and to principal in 1995.  He was the first black dancer promoted to principal by New York City Ballet since Arthur Mitchell in 1955.  While he performed in a wide repertoire of ballets, Albert was best known for roles in the Balanchine 'black-and-white' pieces -- 'Agon', 'The Four Temperaments', 'Stravinsky Violin Concerto', 'Symphony in Three Movements', 'Episodes', 'Concerto Barocco' and 'Movements for Piano and Orchestra'/'Momentum Pro Gesualdo' -- which he infused with unexpected warmth and humanity as well as exceptional strength.

Alfred Evans as Puck in George Balanchine's 'A Midsummer Night's Dream' with Arch Higgins and Alexandra Ansanelli.  Photo by  Paul Kolnik for NYC Ballet

Albert brought his special charisma and superb technique to lots of other ballets from the Balanchine repertory -- memories of an indelible Puck in 'A Midsummer Night's Dream'; an elegant Cavalier in 'The Nutcracker'; the swaggering Rhinestone Cowboy in 'Western Symphony'; the suave song-and-dance man of 'Who Cares?'; the haughty leader of the Czardas in 'Cortege Hongrois'; and the antic sailor in 'Union Jack' all come flooding back.

And who can forget his sensual young ballet student in Jerome Robbins' 'Afternoon of a Faun'?

Peter Martins created a wide range of roles for Albert including the swaggering and sinister Von Rotbart in 'Swan Lake'; the playful 'Puss'n'Boots' in 'Sleeping Beauty'; and original roles in 'Jazz in Six Syncopated Movements'; 'Jeu de Cartes'; 'Slominsky's Earbox'; and 'Todo Buenos Aires'.

He was sought out by choreographers to dance in many of the Company's new works.  Among the many memorable roles that were created for Albert were parts in Christopher Wheeldon's 'Klavier'; Ulysses Dove's 'Red Angels'; 

Albert Evans with Maria Kowroski in Ulysses Dove's 'Red Angels'.  Photo by Paul Kolnik for NYC Ballet

Miriam Mahdaviani's 'Appalachia Waltz' and 'Correlazione'; Christopher D'Amboise's 'Circle of Fifths'; Garth Fagin's 'Ellington Elation' from 'Duke!'; Alexei Ratmansky's 'Russian Seasons'; 

Albert Evans with Rebecca Krohn, Jon Stafford and Rachel Rutherford in Alexei Ratmansky's 'Russian Seasons'.
Photo by John Ross

Susan Stroman's 'Makin' Whoopee' from 'Double Feature'; and Twyla Tharp's 'The Beethoven Seventh'.

Wendy Whelan and Albert Evans in the pas de deux from Forsythe's 'Herman Schmerman'.
Photo by Paul Kolnik for NYC Ballet

Albert retired from the stage after a farewell performance on June 20, 2010.  For his farewell Albert danced the pas de deux from William Forsythe's 'Herman Schmerman' with Wendy Whelan; and 'Phlegmatic' in Balanchine's 'Four Temperaments'. 

Albert Evans as 'Phlegmatic' from 'The Four Temperaments' by George Balanchine.
Photo by Paul Kolnik for NYC Ballet

Denying the sadness of his retirement from performing, Albert used the final moments of his farewell performance to remove his ballet slippers and fling them into the audience and then to lie down behind the mound of flowers he had received from current and former company members.

Albert Evans lying down with the floral tributes at the end of the farewell ovation.

Following his retirement from the stage, Albert was appointed a Ballet Master for the Company.  Among his many assignments, Albert worked closely with Justin Peck on his new ballets for the Company -- including 'Paz de La Jolla' where his supportive presence was evident in the movie 'Ballet 422' which tracked its creation.

Albert taught occasional classes at the School of American Ballet where he was a wonderful teacher and mentor for a generation of adoring students.

Here's a link to a beautiful tribute that Faye Arthurs posted on her blog, 'Thoughts from the Paint', about her memories of working with Albert:

http://www.thoughtsfromthepaint.com/thoughts/for-albert


And here's  a link to a posting on 'Oberon's Grove' that discusses Albert's career:

http://oberon481.typepad.com/oberons_grove/2015/06/beloved-albert.html

By being himself -- a superb performer and a wonderful human being -- Albert Evans had an enormous impact on everyone who knew him or saw him dance.  He left us too soon -- he will be missed.