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Flash Review 1, 12-2:
Fix Ailey Jesus, Fix it
Following the Current Ailey Downstream into Narcissus's Pool
By Paul Ben-Itzak
Copyright 2000 The Dance Insider
Regarding the Alvin Ailey
American Ballet Theater, circa 2000, I hate to be a party pooper
here (see Flash Review 2, 11-30, and
Flash Review, 12-1) -- really, I do! I rejoiced, really, to
see my colleagues Vanessa Paige-Swanson and Mark Dendy rejoice at
Ailey. I even did my best to fight my own curmudgeonly tendencies
regarding this company by hoarding one of the potentially strongest
programs for myself: With vintage Judith Jamison, vintage Ailey,
vintage Bill T. Jones, and new to New York Alonzo King on the agenda
last night at City Center, how could I go wrong? King and the Ailey
seem like a match made in dance heaven: Alonzo has almost single-handedly,
with a nod to Kylian, restored intimacy to the ballet pas de deux.
It's a political crime that his work has not been commissioned for
the San Francisco Ballet, in his home town. Indeed it's a crime
that more ballet companies in general, in addition to his own LINES
Contemporary Ballet, have not sought him out. But Alonzo's very
strength, unfortunately, last night only revealed the more how soul
train Ailey, once Modern Heaven, continues to careen towards Ballet
Hell, leaving its soul waving forlornly on the platform. And "Revelations"
trampled on the tracks.
Mind you, there's nothing
wrong with being a ballet company; what's wrong with Ailey's inclination
in this direction, however, is that it values everything that can
go wrong with a ballet company, with little of the oh-so-much that
can go right when technique marries heart. Ah, there's the rub.
As a colleague pointed out to me recently, the one intimate detail
missing from King's pas de deux is eye contact between the partners.
I guess I've never noticed this before because the every other kind
of contact has been so electric; most of all, the intricate ways
the wrists connect, and how the partners twist around them. The
touching is so intimate, that one can see the intimate connections
even if the partners aren't looking at each other. My non-dancer
companion last night observed that it was as if, in the pas de deux
between Linda-Denise Evans and Benoit-Swan Pouffer for instance,
a line ran through their bodies, from hers continuing through his,
connecting them.
The other reason I've
never noticed a lack of eye contact is the warmth and heart and
soul and depth imbued in King's choreography by his own dancers,
those at Dance Theatre of Harlem who've performed his work (notably
Virginia Johnson), and his frequent guest artist Muriel Maffre.
Alonzo is a master at creating for the abilities and personalities
of his dancers, and creating movement that expresses and evokes
those personalities. Most poignantly, I remember how he took the
late, gifted Christopher Boatwright, under-appreciated at San Francisco
Ballet even before he sustained an injury and then AIDS, and created
movement that highlighted Boatwright's extraordinary charisma and
the beauty of his face, eyes, torso, and arms. Ignoring Boatwright's
handicap, King not only created for, but augmented Boatwright's
innate gifts.
Unfortunately, even Alonzo
could not surmount the handicap which has plagued most Ailey dancers
the last two years: the bolt that seems to have locked up their
hearts, preventing them from projecting love towards their partners
or the audience. Thus, last night King's intricate choreography
in the New York premiere of "Follow the Subtle Current Upstream"
was reduced to little more than yet another none-too-subtle vehicle
for showing off. "Look what I can do with this dance!" as opposed
to "Look what I can do for this dance, and what it can do for you."
The epitome of this egocentrism was the closing whipping spasm of
Jeffrey Gerodias, which seemed to have only one goal: to make us
shout "Go Jeffrey! Go Jeffrey!" Well, I'm shoutin' go, but not with
the same intent. The exception to the rule in this ballet was Bahiyah
Sayyed, who seemed less interested in using the choreography to
show off herself than using it to really engage the space, and thus
high-lighted King's space-carving ability in a way I hadn't seen
before. She melded and merged with it. (I guess it's not surprising
that Sayyed comes from Billy Forsythe's Frankfurt Ballet, where
dancers are trained to serve one choreographer's vision, and to
operate as part of a group aesthetic.)
This pervasive tendency
to see all choreography as a vehicle for showing off also had the
effect of making Bill T. Jones's atypical Bill T. Jones dance, the
1983 "Fever Swamp," seem even more loopy. This is not Bill T. Jones
as dance politician or healer; it's Bill T. Jones trying on his
Paul Taylor suit. (Think the loopy "A Field of Grass," where they're
all frolicking around, hippy style, and even toking pot.) In other
words, this dance is more about attitude than amplitude, but these
dancers are devoid of the drollness that might have made it at least
convincing; instead, they see circus heroics where there is only
clowning. An exception, here, interestingly, was Gerodias, who seemed
to find the humor in this piece, being unable to repress a mirthful
smile as the dance concluded.
The emotional void was
apparent elsewhere as well. Seeing artistic director Jamison's earlier
work "Divining" last year, I found myself surprisingly digging it,
big time. It's a powerful piece, and last year was made more fiery
by the unusually, for her, fiery Linda-Denise Evans. Evans's technical
oomph was still there last night - man, that women's focus of eye
and of body coordination is tight! As well, I love her ability to
slow momentum, even walking slowly, oh so slowly across the stage
to a quick percussive beat. But I was disappointed to see her back,
demeanor-wise, to her cold-projecting self. This is a woman who
plays her emotions close to the vest - a shame, really, because
when she's able to marry those emotions to her mighty-mighty technique,
she's a brick house, ow!
Speaking of emotional
voids, I've been depressed by this widening gap the last couple
of years in "Revelations," the Alvin Ailey signature piece enjoying
its 40th anniversary this year. This dance actually seems to have
deteriorated more this year - not just in its spirit, but in its
technical execution as well. The arms and hands, particularly, are
atrophying. In "I Been 'Buked," the subtly lit dance which opens
the piece, those arms, which hit you in the gut when they jut out,
were throw-away gestures, rarely punctuating. The hands, at the
moment where all five fingers are supposed to spread and capture
the light, were limp. The man in the back, supposed to set the protective
and pleading, strengthness and weakness tone, melts into the background
-- Leonard Meek, come home, all is forgiven! A positive exception
here was Venus Hall, a repository of compact fire who forms a pillar
of a Heaven-beseeching apex to the triangle that completes the segment.
But the most upsetting
deterioration occurs in "Fix Me Jesus." This section, as I've always
read it, concerns a couple, downtrodden by events and fate, pleading
with their Lord to be fixed; and yet, much as this betrays a downtroddenness,
the choreography reveals the strength, solace, and succor they are
able to find in each other. They are pleading to Jesus, sure, but
in the process they are really coming to each other's rescue. Last
night, both Briana Reed and Amos J. Machanic, Jr. seemed most concerned
with reaching the positions that showed them off the best, as individuals.
For Ms. Reed, it has become all about how high she can raise that
leg -- not the pain and need that sends it shooting up. And when,
in the section's final moments, she stands on his thighs, they're
just a platform for her; and for his part, it's only something he
must do to get to the final moments, before he strikes his I'm so
pretty pose.
And, most of all, everything
that's wrong -- and a hint of what used to be right -- with this
company was revealed in the "Take Me to the Water" section. Finally,
in the veteran (but ageless) Renee Robinson, we see a dancer --
a spirit, really, who happens to have chosen dance as her medium
-- who is using the choreography not to show her off, but to channel
spirit; through herself, first, and then through the couple of Dwana
Adiaha Smallwood and Matthew Rushing, each of whom she gently touches,
then stepping back to marvel at their dances, looking at them like
a proud mother beholding and presenting her children. Once she leaves,
however, it's a different kind of party; almost an Ailey version
of Jerome Robbins's "Afternoon of a Faun." They're together alone,
Ms. Smallwood and Mr. Rushing, but they're alone, even tho they're
technically on stage together. There's a line in this song about
"troubled waters." The only water here is the pool into which these
narcissists gaze to faun at their own reflections. There was one
little moment where I thought Mr. Rushing was actually digging Ms.
Smallwood's moves; but no, false alarm - he was only marveling at
the undulating of his own biceps.
I know I shouldn't take
this stuff seriously, but in the souvenir book for this season,
Ms. Jamison writes: "Dance is the language that reveals the heart,"
and then, a little later, referring to the Ailey dancers, "Through
them you will discover your own heart's core...." Come again? The
only discovery these dancers, for the most part, seem interested
in is how they can harness the power of the choreography to show
off the prowess of their bodies. For the most part, they can't even
see each other; how can we hope to see ourselves in them? What I
see most of the time are circus ponies, fascinated with the way
their flesh captures the footlights, drowning in those pools of
light, and drowning the company's soul along the way. I don't know
what Ms. Jamison tells them, but it's not what she writes in the
program.
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