Choreography -Articles - Reviews

"Bodhicitta by Alvin Rangel This was the first - and most impressive - of the three solo dances of the evening. Rangel performed his own creation in which a man enacts what appears to be the history of his tribe in movements at once passionate and epic. I didn't read the program note about 'a warrior striving to achieve spiritual transcendence,' but the dance, for me, surpassed the stated intention, taking on a universal quality that moved beyond the individual. Rangel's primal movement/gestures told a clear and compelling story."

Seattle Gay News - October 12, 2018

"Rangel has created an insightful and tender work titled Now. The music that Rangel chose is the once familiar Piano Concerto No. 21 in C by Mozart. This score was used throughout the 1967 movie Elvira Madigan, a tale of forbidden love. Rangel has taken a well-known subject and given it new life. In Now, two men wearing hoodies pace around the edges of sexual attraction without the dance ever becoming overtly sexual. We see and feel the magnetism, their hesitation and finally their acceptance. It is Rangel’s choreography and the performances of Alexander Caballero and Chris Jensen that give a new insight into society’s mores regarding who can love whom.

LA Dance Chronicle - September 18, 2017

“Rangel is a beautiful dancer and performer, and one of the quietest dancers I have seen in years. In his solo Rises/Falls to the wonderful original composition/music by Alec Chojnacki, Rangel barely made a sound as he landed from leaps and he literally melted into the floor when his choreography took him there. This was a wonderful marriage of pure movement mixed with a very personal choreographic statement of Rangel’s masculinity. Performing shirtless, Rangel demonstrated that a man can express both strength and softness in the same person.”  See Dance News - Los Angeles, September, 16, 2016  

“Even in contemporary dance movements, Rangel perfectly harnessed his power and technique to embody tango's dichotomies: quiet yet explosive, sensual yet restrained.” The Austin Chronicle, March 16, 2012  

“Physically, he was muscular, powerful, and well-proportioned, with graceful lines. Technically, he could move: His training in ballet and jazz was the foundation for powerful contemporary movement. And as a person in space onstage, he was commanding yet a team player.” 

The Austin Chronicle, December 2, 2011  

"Eye-catching partnering characterized the duet elegantly danced by Shizu Yasuda and Alvin Rangel. Although Mighty Spirit looked derivative of Alvin Ailey, Rangel kept the crowd spellbound in his solo performance.”     Dance Source Houston, April 26, 2008  

“…his dance Voices, was the exquisite offering by guest dancer and choreographer Alvin Rangel…” 

El Vocero, Puerto Rico, April 25, 2005  

“The accuracy of the technique required for the physical elements was present without overpowering the skill and sense of flight…”        

El Vocero, Puerto Rico, November 15, 2005  

“The spotlight shines vibrantly onto Sheri “Sparkle” Williams and Alvin Rangel…between the talented duo…Eurydice’s Flight, delivered a breathtaking performance.”

High 5, New York City, Fall 2003  

“Bebe Miller’s Aerodigm has a great deal of playfulness and luscious unpredictable movement…excellently dance by all including, Alvin Rangel…”   The New York Times, December 15, 2003  

“Bill T. Jones's splendid and before…,six of them dance with the precision and almost businesslike fervor his work demands. Especially brilliant is the comradely duet for Marshall and Rangel.” 

The Village Voice, New York City, December 16, 2003  

“In Eurydice's Flight, by Jawole Willa Jo Zollar… Williams and Rangel, who corresponded to Eurydice and Orpheus in this piece to music by Miles Davis, were first seen in passionate embraces. But their unity dissolved as Mr. Rangel became an increasingly possessive, and even abusive lover… It was possible to liken Daniel Marshall and Alvin Rangel, who danced together at the start of Bill T. Jones's and before, moving confidently, they scribbled invisible messages on the air, as if preparing scientific diagrams.”   The New York Times, December 12, 2003  

“Amid the perpetual motion, however, there were moments of beauty: A male trio--Ricardo Garcia, Daniel Marshall and Alvin Rangel--offered nifty handstands...” Los Angeles Times, April 2, 2002  

“Only in Passage to you, a quartet for Alvin Rangel with Harris, Reuille, and Greene, does Ward's invention transcend the predictable in a mesmerizing evolution of spatial relationships as the other men tenderly transport Rangel's body.”   Dance Magazine, September 1998