Jamar Roberts in Garth Fagen’s “From Before”
(Photo credit: Paul Kolnik)
Since its inception at the 92 Street Y in 1958, where Alvin Ailey’s signature piece “Revelations” first ignited audiences as is still does today, this exhilarating company has become our Ambassador to the world. Its second Artistic Director since Ailey’s untimely death in 1989, Robert Battle has kept the tradition alive as well as contributing to it. Here are some of the works new to their repertory.
From Before
This legendary Garth Fagan’s opus, choreographed and costumed by Fagan in 1978 now re-staged by Natalie Rogers-Cropper, is performed to Ralph MacDonald’s percussive Caribbean/West African infused score. Its jungle rhythms are reflected in the simple yet stirring movements of the company. Led by Jamar Roberts and Linda Celeste Sims, the dancers appeared in solos and pairs, each exhibiting a movement diagonally or directly across the stage much as in a dance class. C.T. Oake’s adroit lighting bouncing off the sheen of their vibrantly colored tights and leotards, set off by the stark black background, emphasized their clearly visible contours leaving no room for error.
Impeccably re-staged, one wonders how it differs from the original choreography but one of the outstanding elements of the piece was its meticulous patterns requiring the utmost of discipline to avoid potentially calamitous collisions. The talented cast was clearly up to it.
The repetitively percussive score and the repetitive dance movements created a synchronicity adding intensity and complexity. As the music built so did the size of the cast and the complexity of their patterns eventually created a kaleidoscopic, mesmerizing quality of beauty and intricacy. At one point, the dancers peeled off from a circle into other directions swirling in a maze of color and content which alternated from fluid to staccato, exciting to watch.
The piece was as much homage to Fagan as an exhibition of the excellence and the graceful athleticism of the Alvin Ailey Company.
Samuel Lee Roberts and Kirven James Boyd in Robert
Battle’s “Strange Humors”
(Photo credit: Paul KolniK)
Strange Humors
This is a 1998 piece choreographed by the new artistic director Robert Battle. A duet featuring Kirven James Boyd and Samuel Lee Roberts exhibits the intensity, sexuality, competitiveness, and challenges of a couple alternately dueling and caressing. It builds to an emotional crescendo to the music of John Mackey, a fusion of tango, hip hop and African drum.
Their bodies clothed in costumer John Taylor’s orange pants, the dancers melded their individuality flawlessly, at times mirroring each other’s movements, other times in breathtakingly simultaneous tandem, still others complexly intertwining. Burke Wilmore’s lighting was unobtrusive, letting the movement speak for itself.
The compelling dance was powerful even though simple, drawing in the audience as indicated by their roar of approval at its end.
Alvin Ailey American Dance Theater in Kyle Abraham’s
“Another Night”
(Photo credit: Paul Kolnik)
Another Night
Newly choreographed, Kyle Abraham’s opus added humor to a previously abstract “serious” evening. Costumer Naoko Napata’s mix of street styles was clearly inspired by Abraham’s choreography reflecting Dizzy Gillespie’s “Night in Tunisia,” recorded by Art Blakely and the Jazz Messengers.
In contrast to the rigidly disciplined numbers preceding it, the comparative looseness of the choreography was immediately obvious, though at times bordering on the ragged. Jacqueline Green initiated the piece, soon partnering with Jamal Roberts. There were elements of popular dance reminiscent of the Charleston of the thirties, peppered with humor and occasional goofiness as indicated in the interplay of the cast. However, the music’s edginess diminished whatever sensuality might have been intended. The company as usual was energetic and allowed their personalities to come through.
Alvin Ailey American Dance Theater in Ronald K. Brown’s “Grace”
(Photo credit: Paul Kolnik)
Grace
Ronald K. Brown’s 1999 creation, choreographed to Duke Ellington’s “Come Sunday,” Roy Davis’ hit “Gabriel” and Fela Kuti’s afro pop filled the second half of the evening.
Its dramatic arc began sensationally danced by Linda Celeste Sims as a heavenly emissary, and then included the company in costumer Omayatamo Olaiya’s variations of devilish red and heavenly white themes, representing good and evil.
The choreography, though initially stirring, soon became monochromatic despite the contrasts of red and white in the groupings. They alternately “fought with” each other and danced in collusion. Members of the audience erupted in spontaneous applause throughout and, yes, by sheer repetition of patterns and groups, it was eventually compelling (more by wearing you down). The cast eventually all appeared in white, bathed in William Grant’s brilliant light as they apparently achieved the sought-after state of Grace and ascended to heaven indicating the triumph of good over evil.
Alvin Ailey American Dance Theater – 2012 Season (through December 30)
New York City Center, 131 W. 55th Street, in Manhattan
For tickets, call 212-581-1212 or visit online http://www.AlvinAiley.org