Contributions

• • Cunningham based technique replaced Graham as the training system favoured by the Company from 1986 onwards. (arch, neutral, twist, tilt, curve)
• • Collaborators: 1987 the Company adopted the name Rambert Dance Company and its repertoire became noted for the close collaboration between choreographers, composers and designers. 
• • Musicaility: Alston worked very closely with the music see ‘Strong Language’ (1987).  
• • Abstract: Alston made works without themes/narratives. Inspired from Cunningham and Judson. Dance for Dance sake. Moved away from North’s thematic balletic and Graham based pieces. And the politically inspired pieces Bruce created. 
• • Technique: Alston’s works are highly technical with Balanchine and Cunningham influences.
• • Repetoire: Created ‘Soda Lake’ (1981) and ‘Strong Language’ (1987) for Rambert.
• Dancers trained more in Cunningham technique as a basis of training to prepare their backs for his rep. Less emphasis on North’s Ballet, Jazz and Graham style.
• While artistic director, he created 24 works for Rambert and reworked 'Java'.
• • Aims of the company oriented toward Cunningham's ideas dance is about movement in time and space. 
• • Under his directions won 1986 award “most outstanding achievement in dance”. 
• • Negative implications due to funding – after winning many awards Rambert struggled with finances. 
• In 1986, Alston was appointed artistic director of Ballet Rambert. Work presented by the company was Alston's, although he also commissioned more works from other choreographers. The administrative, planning and policy-making demands of his directorship of the company ended Alston's opportunities to collaborate on a freelance basis and left him less time for choreographic output.
• Alston's period as artistic director was during an economic recession, which hit ticket sales for dance badly. Thus, although creatively the company was developing and thriving, in the economic climate of the time this did not create a financially stable position.
• Alston was not prepared to compromise and the board of directors felt that the company repertory needed to contain work of a less abstract nature and with wider audience appeal. In December 1992, the Rambert Dance Company board members dismissed Alston.
• Later, Alston moved away from the strong emphasis on design in his works that interested him whilst at Rambert Dance Company. He explains, 'I am interested in developing further the close relationship between movement and music.'
• It is music which is the deepest source for Alston, and it is the way in which he corresponds the music and movement in his choreography which his most engaging for the viewer.