Dance

Alvin Ailey American Dance Theatre

Sadler’s Wells, London

5/5

True revelation

Not having had the pleasure of seeing Alvin Ailey American Dance Theater before, I chose to attend their Legacy set, to experience what they are best known for and better understand the history of their style. I don’t know if I would have felt differently had I chosen to see their new works, but I was blown away by the sheer exacting quality of the dancing and the choreography where every second held the audience’s attention with ease. I was reminded again of the high professionalism and respect of the audience intrinsic to top American ensembles that always greatly contributes to the enjoyment of their shows.

In a well-conceived programme of contrasting elements, the large ensemble had many opportunities to show its versatility. In the first half we saw excerpts from three pieces choreographed by the company founder, Alvin Ailey. The first, Night Creature on the music of Duke Ellington from 1974, immediately immersed us in the elegant and slinky jazz world, led by the charismatic Samantha Figgins with enchanting confidence and precision, flaunting the group’s vibrant but well-controlled energy.

This statement of intent was followed by two contrasting solo pieces. A much more intimate lyric piece first, A Song for You from 1972 performed by Yannick Lebrun, explored the contrast between the openness of the extrovert music and the obstacles to expressing the same emotions in dance. Lebrun was both vulnerable and powerful, mixing these attributes in a surprisingly authentic manner. The excerpt from Cry, which Ailey choreographed in 1971 as a birthday present for his mother, completed the introduction to the early repertoire. We were now very much in the world of the 1970s popular music where Jaquelin Harris, using her flamboyant white dress as a prop, demonstrated the energy and athleticism of joy.

The culmination of the evening was no doubt Grace, a 30-minute composition choreographed by Ronald K. Brown for 12 dancers in 1999 which we were lucky to be able to see in full. It is difficult to describe this amazing creation – I think you can only experience it by being in its presence. On a journey to the promised land, set mostly to intense pounding American and African popular music, the dancers seamlessly transition through solo and group scenes, expertly repeating and developing patterns. The influence of other forms of dance, be they ancestral, traditional or social, ancient or contemporary, could be detected organically incorporated into the mix. Although the high energy of this piece is its core, it is enhanced by calm transitions involving a well-defined sense of spirituality.

Whether working together or apart, the dancers were beautifully self-contained with the piece functioning as a monolith of sustained momentum. The energy of The Rite of Spring came to mind as a parallel, although here joint action had no ill intent towards others and was above all about temporarily and nonthreateningly aligning your vital patterns and energy with others. The overall shape of the piece was extraordinarily satisfying, the movement routine moulding the energy flow fittingly whereby the viewer was always surprised, pleased or expectant in the right places.

Many individual dancers came to prominence in Grace: Constance Stamatiou who opens the piece with her striking blend of exuberant energy and adherence to form, Alisha Rena Peek with her inalienable body rhythm, Leonardo Brito with his ritual elegance and power.

After another well-deserved interval to recover from the intensity of Grace, the ensemble performed Ailey’s Revelations from 1960 set to African American spirituals. A definite crowd-pleaser to end the evening with, Revelations stated yet another connection to African American heritage that is the foundation of this magnificent dance company. The finale Rocka My Soul in the Bosom of Abraham starts as a light and humorous homage to congregations of men and women in a Baptist church to become a joyful rousing and infectious celebration. It was replayed as an encore to audience’s delight. Spirituals are always a balm for the soul, but with such superb dance and choreography, their timeless grace is even more generous.