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Review 1, 6-25: Sans Coeur
The Hollow House of Alvin Ailey
By Paul Ben-Itzak
Copyright 2003 The Dance Insider
PARIS -- I hate to sound
about the Alvin Ailey American Dance Theater circa 2003 like Jack
Anderson sounded about Elizabeth Streb when he wrote in June 2002
in the New York Times: "Although many members of the audience cheered
her feats and stunts, I sat scowling in my seat most of the time,
just as I have done since I first saw Ms. Streb in the 1970s." A
reader might ask me, as I figuratively asked Jack, "Who's twisting
your arm?" In my case, I'm asked about this company enough that
I thought I owed it to the dancers to see if it's improved since
my last viewing in December 2000. (See my Flash Review, "Fix Ailey, Jesus, Fix it.") Never mind the ominous
sign that last night's opening of the company's Paris season took
place in an indoor stadium called the Palais des Sports; the program
of Billy Wilson, Elisa Monte, Ronald K. Brown, and Ailey seemed
inclined towards the type of soulful dancing that, with a few exceptions,
has been absent at the company the last five years. Unfortunately,
seeing such profound choreographies rendered so shallowly -- except
by the ageless Renee Robinson, Glenn A. Sims, and Clifton Brown
-- made the experience all the more frustrating.
My companion, seeing
the company for the first time, suggested that maybe I'm just missing
the dancers I first saw interpret some of these roles, notably in
Ailey's "Revelations" and Elisa Monte's "Treading," receiving a
new production this season. For a moment this caught me up; am I
becoming like the New York City Balletomane of a certain vintage
who responds to Kowroski-gushing with, "Ah, but you should have
seen Allegra!"? I don't think so; I would be able to accept Dudley
Williams's departure from "I Wanna be Ready" if the poignant meaning
of this solo from "Revelations" hadn't departed with him. But Jeffrey
Gerodias, who with Guillermo Asca seems to have inherited this role,
either loses gestures almost entirely -- the fluttering of the hand
over the floor as over a river or the vanishing Earth under him
-- or gives them with no bodily sense of their intent, no weight,
no evident strain or pain when he extends his legs and torso with
his butt on the ground. As interpreted by Williams, this moment
might have meant he wasn't ready to enter Heaven, it might have
meant he wasn't quite ready to leave Earth -- but from Gerodias
it means nothing. When Dwana Adiaha Smallwood is carried off shaking
at the end of "Wade in the Water," she's not a woman possessed,
she's just Dwana Adiaha Smallwood, showing off her spastic self
as usual. And don't get me started on Smallwood's partner for this
section of 'Rev,' Matthew Rushing; the eloquent torso of Don Bellamy
has been replaced by the limited expression of Rushing's.
(Okay, you got me started.)
We already know that Rushing seems to go over scores highlighting
the moments where he gets to spin or jump, no matter the dance.
It's bad enough that this can demean a work that is meant to be
about more than spinning and jumping. But it's when Rushing tries
to act that he can truly wreak havoc with a choreographer's intentions.
Ronald K. Brown's work can be full of looks between the performers.
On his own company, this reads simply as being present, as seeing
and being aware of your partners. But, as, er, evidenced last night
in the 2001 "Serving Nia," Rushing (and he is not alone here) seems
to feel the need to dramatize this eye contact -- scowling disgustedly,
for instance, when he exits. For the rest of the cast, with the
exception of the genuine Robinson, they appear to see Brown's vocabulary,
particularly that which draws from African movement, as yet another
opportunity to show off, utterly missing the spirituality and soul
which makes African dance moving and which distinguishes Brown's
approach. (It doesn't help that the music is taped -- couldn't producer
Paul Szilard have fronted fora couple of drummers? If live drummers
are essential in class, why shouldn't they be to performance?)
Rushing's female counter-part
as a lean mean dancing machine, Linda-Denise Fisher-Harrell (formerly
Evans), sometimes finds a role so hot it almost succeeds in melting
her icy delivery -- the shaman-like figure in the reprise of artistic
director Judith Jamison's "Divining," for intance. Elisa Monte's
signature 1981 duet "Treading," like much of what followed from
Monte, is meant to be more sensual than overtly romantic, to be
sure. But if it doesn't exactly demand the players emote, Monte's
labyrinthine, Pilobolan (she's an alum) entanglements, set to Steve
Reich, can come across as antiseptic athleticism if the performers
aren't open to being moved by them. "Treading" might more aptly
be called "Trembling," portraying two beings, solely and together,
on the precipice -- of a cliff, of a lake, of love, of life, of
sensual initiation, of birth. Fisher-Harrell came close last night,
awfully close -- no doubt partly a result of precise coaching by
Elizabeth Roxas, who made this a signature role during a dozen years
with the company, and who remembers. It also helped that Fisher-Harrell's
partner, Clifton Brown, who began the dance and who knows patience,
lets himself be a vessel, and is warmed by the heat supplied by
Monte's movement. Brown would show up -- and represent -- again
in the "Sinner Man" section of "Revelations," revealing something
I'd not seen before, that the green rectangle of light which circumscribes
the movement of the three 'sinners' with nowhere to run terminates
in a precipice, as Brown communicated by breaking perilously on
one foot and barely not toppling over the edge.
But before that, we
had Taylor's "Winter in Lisbon," which suffered the most by being
given by a company for the most part without a soul. During the
intermission that followed, my European companion, no stranger to
dance but new to the Ailey company, gingerly asked, "Isn't the choreography
somewhat common?" Well, it can seem so. Set mostly to the music
of Dizzy Gillespie, this is the type of soulful "jazz" work (not
to be confused, I explained to my friend, with "jazz dance") the
Ailey company used to excel in. The choreographer, riffing on the
music, creates a piece meant to evoke a milieu that's both musical
and social. It depends for its success, for its resonance, not on
spectacular choreography but on spirited, invested dancing. Whereas
"Treading," even rendered coldly, can at least still be kinetically
interesting, the choreography of 'Lisbon' can't go it alone without
a warm reading.
As an example of how
it's MEANT to work, I pointed my friend to the one segment of 'Lisbon'
that was invested with heart and soul last night, the duet of the
same name featuring Robinson and Sims. This seems a standard romantic
pas de deux until Sims smothers Robinson with kisses and Robinson
stops him, retracting her head and taking a moment to regard him
-- in a word, connecting with him. As she's thus demonstrated her
sincerity by giving truly a quiet moment, we believe her -- and
don't take as just melodrama -- when, after blowing him a kiss across
the room, she turns her head tragically as he savors the kiss between
his hands. When the lights dim a moment later and the air goes out
of him as he realizes she's gone, as ephemeral as the kiss he's
just released into the Universe, the emotional payoff is real.
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