REVIEW: Ailey continues to define modern dance in NYC

NEW YORK — The dance offerings in New York City around the year-end holidays are numerous and varied. Although George Balanchine’s The Nutcracker receives much of the spotlight at the New York City Ballet, other residencies are every bit as enjoyable, exciting and entertaining.

Alvin Ailey American Dance Theater recently wrapped its month-long run at New York City Center. The modern-dance leaders, under the artistic direction of Robert Battle, are deservedly at the top of any shortlist for best modern-dance company in the United States. This ever-changing troupe of dancers is able to not only resurrect the memorable and remarkable choreographies of its founder but also add to the repertoire with new, edgy work that speaks to the 21st century, the future of modern dance and the African-American cultural experience. As its website states, the company s interested in the “preservation and enrichment” of American modern dance heritage, and that was on full display at New York City Center.

Choosing which program to experience at New York City Center is always a difficult decision. This year I settled on an all-Ailey program that celebrated the founder on Dec. 31 at 2 p.m. The two-hour-15-minute program featured Blues Suite, Night Creature, Cry and the revelatory Revelations.

Blues Suite, featuring traditional blues music, is an energetic ballet that is almost 60 years old. A group of dancers brings to life multiple narratives and evocative images of the blues scene on a stage set with an impossibly tall ladder. The costumes, redesigned by Normand Maxon, are bright and beautiful, helping Ailey depict a night on the town where romance, seductiveness and fun are joined for a momentous moment of memory and mingling. The 30-minute ballet was expertly performed by the Ailey company throughout its several movements, and there was a nice focus on the more intimate scenes and a nice synergy in the full-company parts.

Of the company members, Hope Boykin stood out for her interpretative skills, dance mastery and genuine, effusive amount of energy on stage. Boykin is a solid staple of the Ailey family.

After an intermission, the Ailey dancers returned to perform the 17-minute Night Creature, set to the music of Duke Ellington. There is a narrative connection between this piece and Blues Suite in that both dances feature individuals looking to have some fun at night. The actual choreography by Ailey is different though and shows his diversity and multiple skill sets. Of the many musical selections paired with Ailey pieces, Night Creature has one of the best with Ellington’s infectious rhtyhms.

Cry is a personal favorite. The solo piece is set to Alice Coltrane’s “Something About Coltrane,” Laura Nyro’s “Been on a Train” and The Voices of East Harlem’s “Right on. Be Free.” Originally Ailey choreographed the piece for Judith Jamison, who would become the second artistic director of the company. At the Dec. 31 performance, Rachael McLaren donned the characteristic dress, held the iconic shawl that she laid to rest at her feet and mesmerized the audience for 17 minutes of solo exquisiteness. The piece has a definite progression and undeniable movement. It starts out contemplative and forlorn. Jamison, on the Ailey website and in her autobiography, states that her interpretation is that the character represents women coming from the hardships of slavery and dealing with the pain of losing loved ones. By the end of the third movement, Jamison adds, the character has found her way and persevered.

McLaren, expert and overflowing with power, captured the essence of the piece and its many changes with an effortlessness that bordered on perfection. She was quietly thoughtful in the opening scenes and then let the beats overcome her while jamming out to the final choreographic steps. She was in control and deserving of the standing ovation.

Revelations, the classic of all classics, finished the program. So much ink has been written about this 1960 masterpiece. This three-movement piece, running a little longer than 30 minutes, is so powerful and resonant that it can elicit many reactions amongst audience members. There’s a seriousness and sadness to the “Pilgrim of Sorrow” portion, while a rousing religiosity permeates the “Take Me to the Water” section, especially during “Wade in the Water.”

“Move, Members, Move,” featuring the instantly memorable “Rocka My Soul in the Bosom of Abraham,” ends the performance on an upbeat, powerful note that serves as a fitting capstone for Alvin Ailey American Dance Theater’s dominance and Ailey’s own legacy.

Thank you, Ailey, for the history. Thank you, Jamison, for the continuance of the spirit. Thank you, Battle, for the powerful curation. Thank you, Ailey dancers, for what promises to be a bright, dynamic future.

By John Soltes / Publisher / John@HollywoodSoapbox.com

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