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#TBT: Alicia Graf Mack and Fidel Garcia in Nutcracker

#TBT: Alicia Graf Mack and Fidel Garcia in Nutcracker

by Michael Henry Shavelle | Aug 21, 2025 | TBT

Alicia Graf Mack’s exceptional dancing earned her a place at three renowned companies: Dance Theatre of Harlem, Complexions Contemporary Ballet, and Alvin Ailey American Dance Theater. Her grace and clarity of movement is showcased beautifully in this clip of The...
Breaking Down Penché With Alicia Graf Mack

Breaking Down Penché With Alicia Graf Mack

by Amy Brandt | May 10, 2024 | Pointe+, Technique, Training

There is nothing quite as beautiful as a smooth and perfectly cantilevered penché. “I love the idea of what penché represents,” says Alicia Graf Mack, dean and director of the dance division at The Juilliard School. “It is one of the largest iterations of a simple...
Scared Your Company Might Close? These Artists Have Been Through It, And Have Some Advice

Scared Your Company Might Close? These Artists Have Been Through It, And Have Some Advice

by Jennifer Stahl For Dance Magazine | Apr 30, 2020 | Career, The Latest

One of the most difficult parts of this pandemic is coming to terms with the fact that, not only are almost all artists out of work right now, for some, the work won’t be there any more when the world opens back up: not all dance companies and businesses will...
#TBT: Alicia Graf Mack and Donald Williams in Robert Garland’s “Return” (2004)

#TBT: Alicia Graf Mack and Donald Williams in Robert Garland’s “Return” (2004)

by Julia Rosica | Feb 14, 2018 | Profiles, Viral Videos

Alicia Graf Mack has consistently defied just about every limitation and expectation throughout her dance career. She was a leading performer with three incredible companies: Alvin Ailey American Dance Theater, from which she retired in 2016, Dance Theatre of Harlem...
Arthur Mitchell on "Agon": "My Skin Color Against Hers, It Became Part of the Choreography"

Arthur Mitchell on "Agon": "My Skin Color Against Hers, It Became Part of the Choreography"

by Amy Brandt | Oct 4, 2017 | Profiles

When American Ballet Theatre soloist Calvin Royal III and New York City Ballet soloist Unity Phelan burst into the opening diagonal of George Balanchine’s Agon on Monday, they had reason to be nervous. Sitting in the downstage corner of Columbia...
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