12/13/21 O&A NYC DANCE REVIEW: Ailey Presents Two Premieres Offering Hope

By Walter Rutledge

The Alvin Ailey American Dance Theater began their 2021 fall New York City season December 1 at New York City Center. The annual holiday season usually runs five weeks ending with a festive New Year’s Eve finale. This highly anticipated return to live indoor performance (the first since 2019) will offer the public an abridged three-week season that runs through December 19, 2021.

The Company is presenting a total of eighteen works over eighteen days. The ambitious fall offering includes seven works by founder Alvin Ailey, five from Robert Battle, four new productions and two premieres by Battle and the company’s first resident choreographer Jamar Roberts. The recently retired company member, (Roberts last performance was during this season on December 9th) created a cathartic and holistic environment in the age of COVID designed to foster healing. 

Robert’s Holding Space, a twelve-member ensemble work, filled the space with what can be best described as “organized choreo-chaos”. The dancers performed the same movement, but in different time signatures and at different angles. Slowly the dancers begin moving in individual patterns forming duets, trios, and small groups. The multiple patterns, happening simultaneously, heighten the tension and pushed the audience to visually dart from one group and configuration to another.

Eventually the dancers formed three lines (stage right, stage left and center) these linear progressions provided a modicum of order while allowing the dancers to maintain their movement individuality. One distinct image Roberts used effectively had dancers balanced on a forced arch with the pelvis dramatically thrusted forward, giving the turns and extensions an off kilter look and a desolate feeling. Tim Hecker’s harrowing score and the atmospheric lighting by Brandon Stirling Baker created an austere and sober otherworld.

A large square frame supported by four dancers (one at each corner) appears upstage left making the proceeding section the most thought provoking. Filled with arresting imagery the dancers one at a time entered the space inside the cube/isolation chamber; mirroring the isolation many people faced at the height of the pandemic.

The series of solos evolved into character studies portraying angst, aloneness and frustration. These emotions permeated the tight and expressive movement embellished by open mouths, outstretched arms and reaching hands. Personal and introspective these psychodramas recalled Ana Sokolow’s Rooms, where inner city people living in proximity were still isolated and alone. Throughout, the raw and abandon movement was tempered by the dancer’s incredible control.

The lights changed from a cool darkness to warm amber in the last section, while the dancers reprised the movement from the opening section. This time the choreography was performed in unison. The chaos was replaced by a meditative synchrony symbolizing the beginning of the end of despair.

Holding Space is an ambitious undertaking. The strong introspective elements produced a cerebral, “thinking man’s” ballet. Roberts’ efforts were admirable, but needed more contrast. The combination of dark lighting, musical monotony, nuanced movement and protracted length caused the work to meander. 

One thing the company founder and its present artistic director have in common is an affinity for jazz music. Both artists understood/understand the fusion of function, form and style synonymous with jazz music and dance. From the beginning Ailey’s portrayal of the African American experience was acclaimed for the works universal consciousness.

Blues Suite (1958), his first work for the then newly established Alvin Ailey American Dance Theater, is a fusion of modern dance, ballet, jazz, black vernacular dance and non-verbal storytelling. From the down-home feel of Backwaters Blues to the symphonic power of Ellington, the poetry of Parker and the lyric longing of Jarrett; Ailey created dances that captured the majesty of this great American art form.

An American art form born and reared by former slaves and their descendants in the speakeasies and brothels of New Orleans Storyville District. Sadly, Storyville is another community where the people were displaced, and the community eased. (How wonderful would a revival Donald McKayle’s District Storyville be?)

To commemorate his 10th anniversary as company artistic director Battle created For Four set to a jazz rendering by New Orleans native and jazz phenom Winton Marsalis. With classic Battle wit the quartet’s title is derived from the composition’s 4 x 4-time signature, but there is nothing “four square” about this work. Battle created a stylish and fun celebration marking our enthusiastic return to normality.

Fusing a multiplicity of style with strong dance theater elements this abstract narrative is a perfect vehicle to showcase his stellar cast. Renaldo Maurice opened and closed the work with a Master of Ceremonies whirling dervish aplomb; while Samantha Figgins executed a series of undulating fouetté inspired turns that oozed with liquid perfection. Jacqueline Green moved with such a total commitment that even her hair danced! And Solomon Dumas “do no wrong persona” wooed the audience the moment he walked on stage. In fact, the entire cast ricocheted through the energetic score with whimsical syncopated verve.

There are six more opportunities to experience the Alvin Ailey American Dance Theater live at New York City Center. For ticket information visit ailey.org.

Ailey Performance Schedule

December 14, 7:30pm- Ailey and Ellington: The River, Pas de Duke, Reflections In D,                                                               Revelations

December 15, 7:30pm- 50 Years of Cry: Blues Suite, Cry, Revelations

December 16, 7:30pm- Lazarus

December 17, 8pm- Battle 10th Anniversary: Mass, Ella, In/Side, For Four, Untold, Love Stories                                                                                   (finale)

December 18, 8pm- Shelter, BUSK, Revelations

December 19, 3pm- Season Finale: Season Highlights, Revelations

 In Photo: 1) Robert Battle and Company 2) Jamar Roberts and Robert Battle 3) Company (Holding Space) 4) Yannick Lebron and Company (Holding Space) 5) Alvin Ailey and Company (Blues Suite) 6) Marilyn Banks (District Storyville) 7)  Renaldo Maurice, Samantha Figgins, Belén Indhira Pereyra and Solomon Dumas 8) Samantha Figgins

Photographer: 1, 2, 3, 6, 7, 8 Christopher Duggan 5 & 6) Jack Mitchell

1/1/20 O&A NYC DANCE/ REVIEW: City Of Rain- Camille A. Brown Reaches Forward To Revisit The Past

By Walter Rutledge 

The Alvin Ailey American Dance Theater company premiere of Camille A. Brown’s City Of Rain took place on Tuesday, December 17. The ensemble work for ten dancers was originally choreographed in 2010 for her own company Camille A. Brown & Dancers. This rendering is more a reimagining than a reconstruction; and Brown takes this opportunity to retool the work to reflect her present esthetic. Unlike her earlier two offerings for the Ailey repertoire, The Evolution of a Secured Feminine (2007, AAADT company premiere 2010), The Groove To Nobody’s Business (2007) and her 2014 Bessie Award winning (Outstanding Production) Mr. TOL. E. RAncE, this revived work is less storyline driven dance theatre and more a movement dominated abstract narrative.

City of Rain is dedicated to Greg “Blyes” Boomer, Brown’s friend who died from a debilitating illness. Boomer kept the details of his situation private, and as he became more incapacitated friends were unable to effectively intercede on his behalf. Choreographer Brown has approached the work from a place of reflection, reverence and respect creating a fitting dance elegy for Boomer.

Brown’s signature style has become as recognizable and individual as a visual artist’s brushstrokes. City of Rain Brown emphasizes her keen and developed understanding of spatial design and strong choreographic form. The work is a barometer to Brown’s growth as a dance maker, storyteller and activists.

From the opening Brown’s subtle use of spatial design came to the forefront. Dancers Jeroboam Bozeman, Patrick Coker, Solomon Dumas and Yannick LeBrun flacked each other center stage in a spatially balanced four cornered circle. Coker broke the harmonious stillness with a solo filled with an uneasy sense of foreboding, which was amplified in the proceeding solo by Dumas.

Brown divided the quartet into two groups. Each coupling (one downstage the other upstage) moved with a slightly different time signature and punctuation. The dichotomy introduced one of her signature movement elements; the use of polyrhythms based on principles prevalent in sub-Saharan African music and dance. German dance pioneer Mary Wigman explored this device in the early part of the 20th century. 

Her diasporic use of multiple rhythmic movement patterns simultaneously has become a Brown trademarks. When six female dancers (Belen Indhira Pereyra, Jacquelin Harris, Courtney Celeste Spears, Jacqueline Green, Jessica Amber Picknett, and Danica Paulos) entered a harmonious chorus of movement engulfed the stage in a rich polyrhythmic visual tapestry. Her ability to incorporate syncopated rhythms through foot stomps and clapping intensified the polyrhythmic experience.

In City Of Rain she fearlessly attacked Two Way Dream, composer Jonathan Melville Pratt’s original melodic music score. Here Brown was able to create her own music/movement addendum- a dance driven visual “choreo-chorus”. Unison brought the work to a collective conclusion. Brown manipulated the use of level throughout; which helped to delineate the work’s visual focal point.

Here, the group danced in a slightly crouched position as a single dancer would rise up and move against the tide; then disappear back into the linear river of movement, while another artist emerged to take her place. Finally, the entire group capitulated to the unison and as the lights and sound faded the dancers began to melt into the floors. It was as if they had reached the final level of dealing with death… acceptance.

Reimaging a former work doesn’t always result in recreating the original emotional intent and public reaction. In City Of Rain Brown was able to use her present day prospective to reach forward to revisit the past. The one consideration that might enhanced the audience’s experience would be the addition of program notes.

This is the last week to see the New York City Center fall season of the Alvin Ailey American Dance Theater. There are two more opportunities to see Camille A. Brown’s City Of Rain, Wednesday, January 1 at 7:30pm and Sunday, January 5 at 3pm. For tickets and schedule information visit ailey.org.    

Photographs of City of Rain cast by Paul Kolnik

 

 

 

12/8/19 O&A NYC DANCE: A Conversation With Yannick LeBrun- Ailey’s Danseur Noble

By Walter Rutledge 

A danseur noble is a male dancer who projects great nobility of character. A dancer who performs at the highest theatrical level combining exceptional grace, technique and strength. In a prior review I referred to Ailey principal dancer Yannick LeBrun as a danseur noble. It was not one performance or one season that brought me to that conclusion, but a career collective. Continue reading

3/4/19 O&A NYC WHATS HAPPENING THIS WEEK: March 4- March 10, 2019

Well March has come in like a lion. Snow and frigid temperatures are in the immediate forecast, but that has never stopped New Yorkers from having a great time. This week we are dancing north, south, east and Westside. Art from Museum Mile to Flatbush Avenue; and cutting edge theatre in Broadway to the Bronx. Here are a few of the many events happening in the city that never sleeps, guaranteed to keep you Out and About. Continue reading

4/9/18 O&A NYC DANCE: Lloyd Knight- In His Zone

Lloyd Knight, principal dancer with Martha Graham Dance Company, is in his zone. He  joined the Graham Company in 2005 and was promoted to soloist in 2009. In 2014 hard work, diligence and appreciation for choreography Knight simply defines as, “art” was rewarded with a promotion to principal dancer.  On Wednesday April 11th the Martha Graham Dance Company will begin a four performance New York City season at New York City Center. O&A NYC Editor in Chief Walter Rutledge sat down with Lloyd for what has become our annual pre-season chat. Continue reading

5/2/17 O&A NYC DANCE REVIEW: Dance Theatre of Harlem

Dance Theatre of Harlem (DTH) presented their annual New York City season April 19, 20 and 21 at New York City Center. The performances marked the sixth season since the company’s much anticipated return after a seven-year hiatus. This new re-configured DTH, under the artistic direction of former company principal dancer Virginia Johnson, continues to mature into a new and important dance voice, while staying true to its founding principles. Continue reading

4/20/17 O&A NYC DANCE: A Conversation With Francesca Harper

By Walter Rutledge

Choreographer Francesca Harper discusses her new ballet System prior to the New York premiere by Dance Theatre of Harlem on Friday, April 20th at New York City Center.
Continue reading

12/27/16 O&A NYC DANCE: A Conversation With Kyle Abraham

By Walter Rutledge

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Untitled America, Kyle Abraham’s latest work for the Alvin Ailey American Dance Theater, brings to light the revolving door of the U.S. penal system. The work had its official premiered on December 7th during the Ailey’s New York City Center Season November 30 through December 31. Recently O&A NYC had an opportunity to sit down with this talented artist to discuss the work, his choreographic process and philosophy. Continue reading

12/2/16 O&A NYC SHALL WE DANCE FRIDAY: A Conversation With Solomon Dumas

Shall We Dance
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Solomon Dumas is living his dream. As one of the newest members of the Alvin Ailey American Dance Theater (AAADT), Dumas is making his New York City Center debut during the 2016 Ailey season November 30 through December 31. Dumas was bitten by the dance bug at age 12 after attending AileyCamp Chicago. Continue reading

11/25/16 O&A NYC SHALL WE DANCE FRIDAY: Revelations Excerpts- Hollywood Palace (1968)

Shall We Dance sinner-man

The Alvin Ailey American Dance Theater performed two excerpts from his masterwork Revelations on the weekly television variety show The Hollywood Palace (1968). The episode hosted by Diahann Carroll helped give the then fledgling dance company national attention. The cast included Judith Jamison, George Faison, Kelvin Rotardier, and Dudley Williams.  Continue reading