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Flash Review 2, 12-6:
Repent and Rejoice
At the Church of Fierce Dancing with the Ailey
By Maura Nguyen Donohue
Copyright 2000 Maura Nguyen Donohue
Repent and rejoice Dance
Insinners. Dance is alive and full of strength and joy with the
Alvin Ailey American Dance Theater. And you've got four more weeks
to get your stressed out, bah humbug self to worship at the church
of fierce dancing. Viewing last night's All-Ailey program at City
Center was like staring into a diamond; the deeper you look, the
more it shines.
While teaching last spring
I'd ask my comp. students to cite any professional choreographers,
companies or dancers they liked. I was shockingly reminded that
many young dancers come to college departments having never seen
anything other than Jennifer Lopez or their local dance studio recital.
However, the one company that's almost always sure to have been
seen by someone in the room is Ailey. And I say, Hear, hear. There
is no understating the importance of witnessing firsthand the powerhouses
that call themselves dancers in this company.
Now, I'm feeling a little
under-qualified, or a little over-biased, to critique some of the
company members. There was a time when I was attempting life as
an Ailey baby. During college, I was so scared of living alone in
NYC that I quit the Ailey summer program before it'd even begun.
But, when a few years later Dwight Rhoden and Desmond Richardson
set work on the company I was working with in Seattle I realized
I wasn't gonna be gettin' what I needed anywhere else. So, I got
my ass back to the City and finally made it to the summer program.
A little older, actually I now felt a lot older and realized that
membership in AAADT was not in the cards. But not before a select
group of students were able to work with Kevin Wynn as he set "Mawalisa
Dance" on us. I saw a bunch of them soon after during Ailey II's
season uptown, but what a wonderful surprise to open the program
last night and see some of their names. And to see how they're realizing
themselves as dancers in what I consider to be the best company
on the planet.
Now, I can say that and
still prefer a different aesthetic because I've yet to see a dance
company that performs with more overwhelming love married to exquisite
technical skill. No one can match the shear energy output that is
generated when this company performs. And, to see it perform a work
like "Revelations" with live, live, live music is to die and gain
entry into heaven. Thank you Billy Porter, Ella Mitchell and Gale
Limansky for the sonic boom. The power of their voices intermingled
with the overwhelming outpouring of heart and soul on stage sent
every cell of my body into frenzy. Anthony Burrell, Jeremiah Tatum
and Kevin Boseman moved through "Sinner Man" with such explosive
prowess you could see their tracers slicing through the space. Benoit-Swan
Pouffer is a sincere partner for the elegant Linda-Denise Evans
in "Fix Me, Jesus."
In this company men and
women are both beautiful and everyone is strong. No one exemplifies
this better than Dwana Adiaha Smallwood in "Cry." She is agony and
ecstacy embodied. Each gesture, every contraction, every drop to
the ground or throw of the arms is sizzling with emotion and intensity.
"Cry" stands as one of the best modern dance solos ever created.
Despite what I said in last week's rant on Sydney Dance Company's
press coverage, if you happened to catch the Sunday New York Times
piece on the "'Cry' girls," this time Do Believe the Hype. "Cry"
is an empowering testament to the will of women and the sensitivity
of the one man who created it. "Blues Suite" and "Phases" were a
joy to watch. They each revel in their musical influences and capture
moments in time with zeal and playfulness. They also offer ample
opportunities to reveal how each dancer executes even the simplest
movement beyond what would seem its fullest capacity. Each section
consumes the space with dancing that is beyond "full-out" -- it
is enormous. So, get thee to City Center, and rouse your spirit.
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