Alvin Ailey American Dance Theater, returned to The Music Center’s Dorothy Chandler Pavilion for its second year of an exclusive four-year Southern California residency with a program of repertory favorites and Los Angeles premieres. As patrons arrived one could feel the excitement and anticipation and the company did not disappoint!
Alvin Ailey American Dance Theater in Matthew Rushing’s “Sacred Songs” – Photo by Paul Kolnik.
Opening night (Program A) opened with choreography created by Interim Director and Spotlight Grand Prize winner in dance, Matthew Rushing. Sacred Songs is described as a “personal meditation on sacred expression” and program notes tell us that Mr. Rushing created this piece to pay homage to Ailey’s iconic masterpiece Revelations. It is set to new arrangements of music from the original production of Revelations that were eventually edited out. It is interesting to note that the original ballet was over an hour and when the opportunity for the company to tour was presented the decision was made to shorten it. I highly recommend reviewing these two short films that are available via YouTube, Beyond The Stage: Sacred Songs/Episode Two: The Music and Beyond The Stage: Sacred Songs/Episode One: The Vision to gain a deeper understanding of the context and process that resulted in this moving piece.
Alvin Ailey American Dance Theater in Matthew Rushing’s “Sacred Songs” – Photo by Paul Kolnik.
Sacred Songs opened with stools on a stage and dancers dressed in what appeared to be rehearsal clothes. The movement and music had a plaintive and pleading feel. I found it haunting and the dancers appeared to be reaching up to the heavens. It was reminiscent of noted choreographer, Talley Beatty’s seminal work, Mourner’s Bench. Although it has been noted in several interviews with Matthew, that Sacred Songs is neither a sequel nor prequel to Revelations. From my perspective, the dancers were moving throughout their community, intertwined, loving, caring, reaching, holding on, meditating, surviving, collapsing, melting to the floor and climbing up, contracting and releasing, all in preparation for Sunday when they would be going to church and celebrating as in Revelations. Hand movements seemed to replace the fans that characterize Revelations. Costumes changed but appeared to be extensions of the dancers and were basically muted tones that effortlessly moved with the dancers and complemented the overall feel of the music. Dancers were deeply connected to the music but most of the movement seemed initiated by the breath and phrasing much more than counts and beats. These beautiful dancers gave unison a new meaning. Although there were solos, trios, and duets, all wonderfully executed, the strength of the piece was demonstrated in the large group sections done in unison.
Throughout the dance I found it difficult to hear the music and lyrics clearly. I imagined how truly exceptional it might be to have live music. The lighting was exceptional, and I found the pools of light invaluable in creating a feeling of calm and meditation. The dance could use some editing due to repetition and the derivative nature of some sections. However, Mr. Rushing, musical director, Du’Bois A’Keen, Costumer, Danté Baylor, Lighting Designer, Andre A. Vasquez, and Scenic Designer, Joseph Anthony Gaito, collaborated in the creation of a living embodiment of lamentation, faith, and joy!
Alvin Ailey American Dance Theater – Jacquelin Harris, Yannick Leburn and Isaiah Day in Lar Lubovitch’s “Many Angels” – Photo by Paul Kolnik.
Lar Lubovitch’s Many Angels set to Gustav’s Mahler’s Symphony No. 5 against a backdrop of clouds was magnificent. The ballet opened with lighting that created an alabaster hue upon the dancers in a tableau dressed in diaphanous gossamer costumes. It is his first premiere for Alvin Ailey Dance Theater, and he says: ‘It is not really about angels. (Well, maybe a little.).” Mr. Lubovich, I beg to differ with you. These dancers move as if they are weightless and floating through lifts and turns filling the entire stage. It is a cast of only 5 dancers, but the actual number is deceiving because they seem to be everywhere. They create one beautiful picture after another. The trios, duets, and solos that occur feel organic and seamlessly arise. Lifts are effortless as men lift women and women lift men. Transitions from one movement to another magically happened and then the movement would stop as if the dancers were frozen in time. Too soon the dance ended to thunderous applause.
Alvin Ailey American Dance Theater Jacquelin Harris and Yannick Lebrun in Elisa Monte’s “Treading” – Photo by Paul Kolnik.
Elisa Monte’s Treading came next. Two sinewy dancers seem to move in and through one another in fluid intricate movements to sensual music. The dance opened with lighting that highlights the muscles of a tall thin male soloist. He seemed to be otherworldly and possess tremendous strength and balance that enabled him to perch in relevé forever. His technical prowess coupled with the lighting made it seem as if the female soloist appeared between his legs from nowhere. The audience erupted in applause. These two remarkable dancers moved like sexy snakes wrapping themselves around one another in one unique shape after another. Provocative, moving, sensual, insect like dancing requiring amazing strength to maintain their connection to one another as they moved up and down and from side to side. It was breathtaking!
The evening closed with Ailey’s masterpiece, Revelations. I first saw the Ailey Company perform Revelations in the late sixties. I will never forget seeing Judith Jamison, Miguel Goudreau, Dudley Williams, and so many other truly phenomenal dancers. Since that time, I’ve seen it all over the country and even in Switzerland. I’ve had the opportunity to see it danced to live music and speak with the original composer, Howard Roberts. So many dance luminaries have graced the stage in Revelations, Donna Woods, Neisha Folkes, George Faison, Nasha Thomas, Hope Boykin, Nasha Thomas, Sarita Allen, Gary DeLoatch, Warren Spears, Sara Yarborough, Debra Chase, Marilyn Banks, Hector Mercado, Stephen Smith, Loretta Abbott, Mari Kajiwara, Oka, Chaya, just to name a few, and I feel so privileged to have seen them. Today, 62 years later, it elicits the same response in my heart and head. Extraordinary technique in modern, ballet and jazz coupled with the dancers’ spirits merge to tell the story of the African American experience.
Alvin Ailey American Dance Theater in Alvin Ailey’s “Revelations” – Photo by Paul Kolnik.
As the curtains opened to the tableau for I Been Buked, the audience burst into shouts and applause. The angst and pain of living as an African American is palpable in the movement. The choreography is characterized by reaching to the heavens, moving away, coming together, huddled, holding one another throughout the struggle to survive. It is clearly pure Horton modern dance technique. There is a special poignance and melancholy that settles over the audience as they intently watch in silence. Lights fade on the signature tableau of the piece.
Tempo changes and a trio performs Didn’t My Lord Deliver Daniel. They move across the floor with an urgency that is mind boggling and these three cover the entire stage with a large part of the choreography on their knees and punctuated with contractions that seem to send them to the floor each time they rise.
Fix Me Jesus, a pas de deux capturing the longing for Jesus to simply “fix me”, The woman is exquisitely partnered and supported by her male partner as she leans back with her head almost touching the floor and her leg is stretched to the heavens. The formidable duo of Sarah Daley-Perdomo and Yannick Lebrun were stunning. The lighting at the end was impeccable as Ms. Daley-Perdomo stepped up onto the thigh of Mr. Lebrun in a long arabesque and arms reaching to the sky.
Alvin Ailey American Dance Theater – Solomon Dumas, Constance Stamatiou and Yazzmen Laidler in Alvin Ailey’s “Revelations” – Photo by Paul Kolnik.
Processional/Honor, Honor and Wade in The Water have always felt like one dance due to the seamless transition between the two. The dancers enter with chests lifted and heads high as they prepare for baptismal. It is processional complete with a white umbrella thrust high and two men with long poles with strips of the musicality that characterizes the quintessential Ailey dancer is on display throughout this section. Long arms and hands undulate, punctuating each step and suddenly the music and lighting change and the blue water stretches across the stage. The last dance in this section is I Wanna be Ready. I must admit that Dudley Williams has left an indelible imprint on my mind when it comes to this dance. The recent Ailey retrospect at the Whitney Museum featured videos of Dudley as a very young dancer and then later in his career performing this dance and it moved me to tears. Vernard J. Gilmore captured the desperate struggle to be ready to ascend to glory. Turning away from gambling and sin with a gesture and the posture of a gambler Mr. Gilmore was clearly committed to being ready.
The Move Members Move section is always thrilling from beginning to end. The Sinner Man trio is a study in turns, leaps, falls, and tilts. The men jump from the floor into the air and then turn more times than can be counted and end in a layout with the chest up to the ceiling. It is here where the men demonstrate their sheer strength, flexibility, and technical prowess is on full display. It is fast and furious! From here you move into church and a celebration ensues. Lighting changes, costumes change, and the dancers’ personalities shine bright. First the women enter church with their fans and big hats and engage in a whole lot of greetings and talking. The men enter, and the church party is on. It is sheer joy and jubilation. I have never seen Revelation end without the audience jumping to its feet with shouts of “Bravo”, applause, and clapping as if they are in church too. Tonight was no different. This performance ended as always, with a rousing standing ovation. Forever an American treasure, Alvin Ailey American Dance Theater, a company you do not want to miss.
For more information about the Alvin Ailey American Dance Theater, please visit their website.
To learn more about The Music Center’s Dorothy Chandler Pavilion, please visit their website.
Written by Leah Bass-Baylis for LA Dance Chronicle.
Featured image: Alvin Ailey American Dance Theater in Lar Lubovitch’s “Many Angels” – Photo by Paul Kolnik.
