12/22/24 O&A NYC DANCE REVIEW: Ailey Premieres by Boykin, Lobovitch, and Roberts

By Walter Rutledge

The Alvin Ailey American Dance Theater is now halfway through their 66th New York season at New York City Center. In the 18 remaining performances this season, which runs until January 5, the company will present 19 works by 12 choreographers. The fall/winter Ailey season has become one of New York City’s annual holiday traditions.

Lar Lubovitch and dancemakers Jamar Roberts and Hope Boykin premiered new works during the first two weeks of the 2024 Alvin Ailey American Dance Theater fall season. Roberts’ Al-Andalus Blues uses music by Manuel Álvarez Maciste with lyrics by Andrés Eloy Blanco and Miles Davis Sketches of Spain. Boykin’s Finding Free is set to an original score by Matthew Whitaker, which was performed live but out of view behind the stage. And Many Angels, Lubovitch’s first original work on the company, is set to Gustav Mahler’s Adagietto from Symphony No. 5 in C sharp.  

Jamar Robert’s Al-Andalus Blues started with the house lights dimming as Roberta Flack’s soul stirring rendition of Angelitos Negros enveloped the impending darkness. Anticipation built as the theater finally became dark and the curtain dramatically rose. Sadly, this was where the drama ended.

In center stage seven dancers stood on or around a green island almost motionless. The black militarized jumpsuits with their 80’s padded shoulders harkened back Janet Jackson’s Rhythm Nation. When Ashley Kaylynn Green joined the group standing on the high ground of the structure, we expected the dancing to begin. Instead of 5-4-3-2-1-dance! We got more stillness, then a series of tableaus and minimal movement phrases.

The minimalist marathon continued and continued and continued into the Miles Davis suite of music. The gesture driven movement vocabulary had a tight almost introverted feel. His signature pattern of setting multiple groups of dancers executing different movement passage simultaneously before becoming one body in unison became the formula for many of the ensemble passages. The work soon evolved into a predictable series of virtuoso filler solos, duets and trios. The dance never soared above the music to take the lead; instead, it felt bound to the score making the dance appear monotone. At times a section would begin to build energy and visual interest only to fall back behind the andante tempo of the music. It felt like we were driving Miles Davis’s Ferrari but never took it past third gear.  

Boykin’s Finding Free, an ensemble work set to an original score by Matthew Whitaker did not fare much better. Again, the light dimmed as the music began and the curtain eventually rose in a similar dramatic fashion. And again, dancers eased on down a long road paved with good intentions. Here too a series of gesture driven and isolated movements were assisted by the usual ho-hum “if in doubt” dance staples of arabesques, attitude turns and grand battlements a la second.

When the score took on religious undertones, we anticipated a much-needed energy boost and stylistic change. Instead, the movement became uncharacteristically more angular and incongruent with the music. If we were witnessing a religious service, it was a funeral, and the dearly departed was this ballet.

Whether the work is abstract, pure movement or story driven it must abide by certain structural/choreographic tenets such as a strong opening statement (establishes initial movement vocabulary and theme). Rising and falling action- dynamics (keeps the audience anticipating what’s next). Developed and reoccurring movement phases and themes (they become the dance’s melody).

Especially with works of protracted length clarity, direction and focus are paramount. Both works offered insufficient thematic coherence or structural cohesiveness. How can you expect the public to experience the power of your vision if they can’t follow it?

In contrast Lar Lubovich’s Many Angels, set to the Gustav Mahler’s Adagietto, opened with dancers sculpturally posed upstage left against a background of clouds. This visually satisfying quintet had the right blend of classic plastique, arresting and spontaneous partnering, and varied dynamics and counterpoint. Lobovitch’s considerable storytelling and choreographic prowess produced a poetic abstract narrative work. The ethereal yet simple and concise interpretation placed the performers and the audience beyond the clouds where we all danced vicariously high above humankind.

During the remaining two weeks the company will present returning new favorites such as Kyle Abraham’s celebration in motion Are You In Your Feelings? and Elizabeth Roxas- Dobrish’s dance theater delight Me, Myself and You. Sacred Songs, a world premiere by Interim Artistic Director Matthew Rushing is the fourth and final new work offered this season and Ailey Classics that will rock your soul.  

For more information, program schedules and ticket reservations visit nycitycenter.org 

In Photo 1) Company photo 2&4) Many Angels- cast Choreographer Lar Lubovich 3) Al-Andalus Blues- cast Choreographer: Jamar Roberts 3) Finding Free- cast  Choreographer: Hope Boykin 5) Me, Myself and You- Caroline Dartey and James Gilmer Choreographer: Elizabeth Roxas- Dobrish’s 6) Revelations cast Choreographer: Alvin Ailey

Paul Kolnik photographer

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