| . | 04/18/2009
Ailey II at the Ailey Citigroup Theater
By: Jeannie Lieberman
(Cast in Movin’ On) photos by Eduardo Patino
April 15th heralded two weeks of seven new works by the Ailey II, the second company of the Alvin Ailey Dance Theater, who have already inspired great respect since the company’s creation in 2007.
While some decisions were questionable there is no denying the professionalism of the performers.
Valse, an ambitious piece choreographed by Sidra Bell, raised more questions than it solved. Why the name when there was nothing remotely waltz-like in it, except perhaps a 6/8 tempo buried beneath Denis Bell’s persistently pounding percussion. Equally as repetitive as the music was the choreography. Her initial angular signature style soon become redundant with an unsettling presence of hype-extended elbows – just one would have been an accident but I soon found myself paying more attention to how many members exhibited that oddity (in medical terms considered a deformity). Another question was Elena Comendador’s odd decision to take a piece, so abstract we were already deprived of gender, by designing costumes that represented neither (or both) by combining feminine and masculine elements from each other’s costumes so that neither looked graceful or flattering. Men and women in flounces, boxer shorts and socks. It made a long piece even longer, however there is absolutely nothing but admiration for the hard working cast who managed, without any discernible landmarks, not to get lost in either the music or choreography
“The Calling” from Splendid Isolation II was a welcome, visually gorgeous respite in a solo work by Jessica Lang to soothing music by Trio Mediaeval. Isolated within a huge circle of fabric (again by Elena Commendatory) descending from her body, subtle shifts and twists revealed pure sculptural forms flowing inventively. However, the piece was so short it was more like a tease. More please.
(Dementia Hopkins and Josh Johnson in Hope)
Hope (The Final Rise) choreographed by Troy Powell to music by David Chesky, was dramatic, substantive and relate-able; individual angst vs. Orwellian conformity, fear and trepidation and a soupcon of optimism (a voice chanting, “Rise up, children, right now.”) made this meld of balletic and modern movement oddly gripping. The constant shifting of groups revealed a choreographer on top of his staging and an ensemble company ready for whatever was asked.
(Jarvis McKinley and Megan Jakel in Movin’ On)
Movin’ On, the anticipated highlight of the evening, enhanced by the presence of choreographer George Faison (and of Epatha Merkerson in the audience who helped underwrite the cost of the costumes) made it a star studded event. Betty Carter’s jazzy, edgy music and Faison himself reading a poem offstage, “Harlem”, by Langston Hughes set the mood and setting and guaranteed an unusual piece and the company did not disappoint.
The choreography, a blend of jazz, ballet and modern was comfortingly reminiscent of Ailey’s Night Creature as dancers sat, perched on and stood on random chairs onstage to tell their “stories”. A central female “band singer” in staccato and frenzied movements was like the scat singing of the music set to motion, while others perched on chairs represented musicians accompanying her; a young girl in jean patterned tights and ballet shoes flirted with a street dancer, girls in heels and dresses joined the men and all were occasionally the audience. As in the poem, “What we gonna do in the face of what remember” left a bittersweet note to the evocative work.
The Ailey City Group Theater, 55th Street and 9th Ave. April 15 – 26, 212 405 9082
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