By Emily Williams
As she celebrates her 10th season as artistic director of the Alabama Ballet, Tracey Alvey can safely say the years have flown by.
“People always tell you that, as you get older, time goes by much faster and it is completely true,” Alvey said.
For Alvey, it seems just yesterday that she was on the stage herself. Born in Kent, England, Alvey began dancing at about the age of nine. She had a 20-year career as a classical ballerina after she graduated from The Royal Ballet School in London, one of the country’s three premiere arts schools.
Name just about any working English performer – actor or dancer alike – and Alvey says chances are they studied at one of those three arts schools at one point in time.
During her career, Alvey was a principal dancer for the London City Ballet and performed for notables such as Queen Elizabeth II and the late Princess Diana.
“I still feel as if I’m 20 years old,” Alvey said. “There are times that I put on my tights and slippers and join in on a lesson and I so enjoy that I have that opportunity.”
When Alvey made the move from the United Kingdom to the United States, she accepted a position as ballet mistress for the Alabama Ballet under the impression that it would be a part-time gig. Two years later she rose to the role of artistic director, spending the past decade planning and overseeing the company’s season as well as the Alabama Ballet School.
“I’m so fortunate because something I started doing as a hobby turned into a career,” she said. “Not a lot of people can say that. I’m working with a fantastic group of like-minded people and we all challenge each other every day and grow as a team.”
Alvey added that the length of a dancers’ career on the stage is never truly secure because it is dependent on physical condition. Injuries that sideline a dancer can happen at any moment, so being able to transition into the administrative side of the ballet was a blessing.
After a decade spent planning and overseeing the Alabama Ballet’s annual season of four large-scale productions, Alvey said there is still nothing quite as welcoming as the first days of rehearsal.
“Those first days back are such an exciting time,” she said. “The busier it is in this building, the more energy you can feel all around you.”
Under her authority, the Alabama Ballet School has been recognized as the only school in Alabama to incorporate the official Royal Academy of Dance syllabus.
“It’s a magical place for young children to be able to look across the hall and see professional dancers training,” Alvey said. “I remember when I was a student, we would crowd around the windows and peek in at the company dancers and these guest soloists and choreographers, like Rudolf Nureyev and Margot Fonteyn.”
Alvey said it’s important to bring in guest choreographers for shows, not just for their fame, but for the learning opportunity.
“There is always such immense pressure to be perfect, but perfection doesn’t exist,” Alvey said. “I think it’s most important for these dancers to leave the season knowing more than they did when they entered.”
When choosing the pieces to include in the season, she tries to bring in ballets that she would have enjoyed performing. Though she stuck to classical ballet, she said she isn’t immune to the draw of contemporary pieces.
“As far as challenges and goals, one thing that I always try to do when faced with a decision is come from the side of the dancer,” Alvey said. “I like to bring in pieces that are just as exciting for the company as they are for audiences.”
In her first years as artistic director, Alvey said, she was quite conservative with her requests. But she learned to push the boundaries as she grew more confident. One of the most notable successes, according to Alvey, was bringing acclaimed choreographer Sir Christopher Bruce’s “Rooster” to the 2010 season.
“I actually spoke with him personally, which was quite intimidating,” she said. “My motto is, ‘If you don’t ask, you don’t get,’ so I asked.”
With that same principal in mind, Alvey is hoping to bring in something fresh among the staples this season.
The 2016-17 season will begin with the At Home series of performances at the Alabama Ballet Sept. 23 to 25 and Sept. 30 to Oct. 2. The dancers will then move over to the Dorothy Jemison Day Theater at the Alabama School of Fine Arts for “Bonnie and Clyde” Oct. 28-30.
“I’m really excited about this piece because I feel it’s a classic story that will appeal to a number of generations,” she said. “Audiences will be seeing it from a different perspective. It’s not as much about the crime, which will have its place, but more the love story between the two.”
The company will then prepare for the annual performance of Balanchine’s “The Nutcracker,” an audience favorite but also a favorite for the dancers.
Following the holiday performance will be the famous Romantic ballet “Giselle,” to which Alvey is no stranger, having danced the principal role during her career. The piece also happens to be her favorite ballet.
Finishing off the season will be the Ovation collection of contemporary ballet. The featured piece will be Twyla Tharp’s “In the Upper Room.”
Though it’s still just an idea in the works, Alvey is hoping she and her team can add a Prince-themed performance to Ovation in honor of the late artist.
“I feel that there truly is something for everyone to enjoy this season,” Alvey said. “Ten years has gone by so fast, but each year has been a challenge and a blessing all at once.”
For more information, visit alabamaballet.org.
