Night Creature
Pas De Duke
The River
Revelations
Founder
Alvin Ailey
Artistic Director
Judith Jamison
Associate
Artistic
Director
Masazumi Chaya
Choreography
Alvin Ailey
Company Members
Guillermo Asca
Olivia Bowman
Kirven J. Boyd
Clifton Brown
Courtney
Brene
Corbin
Rosalyn
Deshauteurs
Khilea Douglass
Vernard
J. Gilmore
Alicia J. Graf
Zach
Law Ingram
Abdur-Rahim Jackson
Chris Jackson
Gwynenn
Taylor Jones
Willy Laury
Malik Le Nost
Roxanne Lyst
Amos
J. Machanic, Jr.
Adam McKinney
Briana Reed
Jamar Roberts
Renee Robinson
Matthew Rushing
Glenn
Allen Sims
Linda
Celeste Sims
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Alvin Ailey
American Dance Theater
Sadler's Wells
4 - 15 Sep 2007
When you have watched something that took your breath away from beginning to end, it's hard to know quite how to describe the experience. The Sadler's Wells performance by the Alvin Ailey American Dance Theater company encompassed everything that it has, over its fifty year history, become famous for: beauty, unyielding strength and poise; high emotion interwoven with eroticism and humour; simultaneously whimsical and serious. There was not a single step, not a single gesture nor expression that disappointed the audience. And true to its title, this group is never just dance, but theatre too: sometimes short anecdotes are told; at other times we are presented with glimmering insights into a characters' life; and always, there is an unravelling of times past - from the plight of the African-Americans, their defiance and their spirit, to the first burning embers of jazz and blues.
The evening consisted in four of Ailey's choreographic masterpieces, opening with "Night Creature": a delicate synthesis of classical ballet and quick, light-footed jazz moves, this was a wonderful introduction to the exuberant company and their extraordinary, almost fluid gifts of movement. This was followed up by Ailey's modern translation of the traditional pas de deux, his tribute to the musical genius Duke Ellington: "Pas De Duke". Danced by the quite remarkable Linda Celeste Sims & equally stunning Matthew Rushing, this is a duet infused with irresistible cheekiness. Sims'extension and flexibility made this piece captivating to watch and when she shook her booty in those tight silky trousers, teasing her partner with sexy glances, one could only feel grateful that such women exist.
"The River", as its name suggests, is an abstract of eight movements choreographed to reflect the versatility and vitality of moving water. And the dancers were just that: so versatile that they moved seamlessly from one remarkable position to the next. Whirling multiple pirouettes, turns in midair, soaring leaps and unsupported arabesques were all danced meticulously, proving remarkable grace and technical finesse throughout the company. The rich tonality of Ellington's score gave further weight and vibrance to the dancing. "Giggling Rapids" was performed beautifully by Rosalyn Deshauteurs and Antonio Douthit, making turns and extensions that would be a feat for any normal person look easy. In "Riba", Ailey's sense of humour is made clear, as Guillermo Asca plays the most elegant clown you have probably ever seen and raises great cheers from the audience.
The Grand Finale was "Revelations" - Ailey's debt of honour to African-American culture and history, of which he once said that it was "Sometimes sorrowful, sometimes jubilant, but always hopeful". To gospel songs and holy blues, the dancers moved passionately and emotionally, echoing hope and conviction in every step. Linda Celeste Sims and Glenn Allen Sims danced a strong and tender "Fix Me, Jesus," with fine balances, reaches and protected contractions. Amos J. Machanic, Jr.'s rendition of "I Wanna Be Ready" was met with a stunned silence from the audience; and just as we were thinking no man could dance any better, James Robert, Clifton Brown and Kirven J. Boyd sliced through space and across the stage in "Sinner Man". The grand jetes and the sur-la place leaps caught one's breath with their precision. And to close the night, the company re-formed as a whole to give us "Rocka My Soul in the Bosom Of Abraham" - a wonderful, funny and elegant homage to the feisty spirit of black women. Florence Mackenzie
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