ALVIN AILEY AMERICAN DANCE THEATER. Artistic director Robert Battle. At the Artscape Opera House. SHEILA CHISHOLM reviews items from both programmes.
WITH advance publicity lauding New York-based Alvin Ailey American Dance Theater (AAADT) as “one of the world’s most popular global dance companies”, and excited patrons pre-curtain-up hype at an all-time high, when seen in action, AAADT could possibly, have left “a let down feeling”. Dancers are human, and its not always possible to live up to others expectations. However, from audience response and noisy appreciation, AAADT measured up in both programmes – to their enviable reputation.
Perhaps most gratifying was seeing so many well trained dancers whose classical background allowed each one to craft contemporary /modern choreographic intent with such ease and artistry. While on the odd occasion footwork “faltered” in Ailey’s Night Creature, repetiteur Matthew Rushing is roundly applauded for rehearsing AAADT into the unified team they are. When required they danced as one.
Yet space remained for individuality, finely tuned pas de deux and solo parts within longer works, as well as in shorter pieces.
Ailey’s 1974 Night Creature, fused with Duke Ellington’s music, opened AAADT’s first performance. Ailey based this three movement piece on Ellington’s quote, “Night creatures, unlike stars, do not come out at night - they come on, each thinking that before the night is out he or she will be a star.” On women – wearing attractively painted white flowing calf-length, sleeveless dresses, sprinkled with twinkles, and evening blue shaded tops with flared pants for men – Ailey choreographed this effervescent piece for 15 dancers. He drew strongly upon the classical ballet step repertoire, Graham-like contractions and other dance idioms. Led by Akua Noni Parker, Vernard J Gilmore the company interacted with each other as they strutted, leapt, turned, performed inverted pas de chats to match hands held like paws while slinking around like cats (night creatures).
In Christopher Wheeldon’s pas de deux After the Rain, husband and wife duo Linda Celeste Sims (wearing a plain shoe-string orange leotard) and Glenn Allen Sims (bare chest and white pants) stand out for their musicality, sculpting Wheeldon’s beautifully intricate shapes.
Against an orange hued cyclorama and set to Arvo Part’s minimal piece for violin and piano Spiegel im Spiegel, Wheeldon kept his movements slow and lyrical in tune with the piano’s hypnotic rise and fall. As artistes Mr and Mrs Sims conveyed that glorious peaceful feeling experienced after rain has fallen.
Jamar Roberts stood out in Hans van Manen’s brightly hued Polish Pieces. Not just because he stands at over 1.9m, or for wearing a bright-yellow unitard, but for his stage presence, physique, technique and athleticism. Facilities only acquired through years of dedication to his art. This is a dancer, all lads and lasses, should aim to emulate regardless on what training programme they may be.
Set to Sheila Chandra’s syncopated score, Battle’s Takademe, amused as Kanji Segawa, bounding about on the proverbial tickey, performed a high voltage solo in stylised classical Kathak Indian dance. Dressed in frilled ankle-length red pants and bare feet, to speedy taka taka rhythms, Segawa jumped, jerked, twisted and turned to be rewarded by well deserved cheers.
Exodus by Rennie Harris, proved, on a first viewing, to be more an exciting example of fast exceptionally complicated hip hop than an exercise in strained relationships between communities and law enforcers as Battle explained. However, to quote another source “ Exodus explores the idea of moving from ignorance and conformity as a necessary step toward enlightenment.”
That made more choreographic and visual sense as after energetic “street” dancing 15 dancers changed from sneakers, jeans, shirts and baseball caps, into white spiritual tunics, pants and shoes representing an exodus from rugged street living to an enlightened spiritual state... another example our young could follow.
In keeping with AAADT’s tradition, both programmes showcased Ailey’s cultural masterpiece - Revelations. It’s a remarkably constructed piece. A revelation in harmony, skill and historic significance premiered in 1960. In three main parts Pilgrim Of Sorrow, Take Me To The Water and Move, Members, Move, Revelations is conceptualised from African American determination and faith to move from slavery to freedom. To explain this musically Ailey selected spirituals, song sermons and blues. I Been ‘Buked starts Pilgrim of Sorrow. Centre-stage, encircled by light, a group of nine are motionless in a bowed position. Arms are outstretched in wing like positions. When they start moving heads and arms lift in plaintive pleading to heaven. Body swings splits the group while weaving into complex patterns. Earthy, heavy, at times speed-driven, choreography is matched by earth brown costumes designed to compliment heavy flowing movement.
Take Me To The Water represents ceremonial baptism. Here Ailey uses a woman in white carrying an outsized parasol – acting as an altar canopy. She depicts a religious teacher preparing for a river baptismal ceremony, illustrated by a stage-width blue silk ribbons.
I Wanna Be Ready once again showed Robert’s remarkable technical dexterity and control. Built around the Horton technique, this composition tells about a god-faring man preparing for death.
Part three began with Sinner Man. Against a background of hell’s flames, three men rushed, spun and leapt attempting to beat the wages for their sins. A church service to God’s glory wound up Revelations i n characteristic Ailey style.
Rooted in African American culture Ailey favours expressive hands, forward and back bends, turns, full body use, grand plies, demi-plies, attitude turns, jetes and hip circles. Although choreographed over half a century ago, Ailey’s Revelations is as dateless as its message – that faith is all powerful, joyful and eternal.
Simple well-cut classic costumes designed to show-off the women’s clean/ neat body lines and the men’s athletic physiques added beauty and structure to each essay. As did dramatic red and white lighting shafts and the cyclorama’s ever-changing hues.
A stage uncluttered by sets kept eyes firmly locked on the purity of the dance. Overall a rewarding theatrical experience.
Alvin Ailey’s American Dance Theater showed what can be achieved by determination and strong beliefs.
A lesson our own youngsters can learn is that no matter where your beginnings are, life is a spiritual journey through which you can reach great heights.