After rushing into the Fox Theatre because of the insane parking situation, it became apparent that in my frenzy to see all of the sold-out Saturday night performance of the Alvin Ailey American Dance Theater, I had failed to get a program.
I asked a neighbor to borrow hers until intermission. She replied, “Girl, you can have it. I still have my one from yesterday.”
“I don’t see how they are going to be able to top what they did last night, but we’ll see,” my neighbor continued, offering a few seconds of sister-girl chatter as Ailey’s 50th Anniversary video continued to roll.
Then she and her guest began to engage in lively conversation about how great the show was the night before. Their two neighbors chimed in, asking questions. In watching their exchange, I realized that everybody in the entire row was black like me.
The row ahead of us included an Asian family of six, and white people on either side, with another black row ahead of them. Seeing the diversity in the crowd was as engaging as a performance itself – that is, until the bright colors and demanding pace of the introductory number, The Winter in Libson. Then, every eye focused on the stage and never veered away.
“They are a powerful, energetic and humane institution with an appeal that transcends race,” said Michael Uthoff, executive and artistic director for Dance St. Louis, which presented the performances.
“Their presentation is more than just a dance.”
Ailey’s ability to attract the masses was illustrated in the size and diversity of the audience that supported Dance St. Louis’ presentation of Ailey’s 50th Anniversary tour. Uthoff said that with a combined audience of 7,000, last weekend’s presentation of the Alvin Ailey American Dance Theater was one of the best-attended performances in the history of Dance St. Louis.
The company showed its power to change – even if only for a night – an entire audience demographic.
Dance St. Louis’ gift to the St. Louis community was triple-fold. The organization offered a new appreciation for an art form, a chance to be a part of the Golden Anniversary celebration of what is generally accepted as the most celebrated dance troupe in the world, and the pleasure of witnessing a homegrown star in the making: Ailey principal dancer Antonio Douthit.
Now, back to the dance.
Four pieces allowed audiences a peek inside the infinite realm of possibilities within the genre. They ingeniously transitioned in emotion, from delight to darkness and ending in revival.
The Winter in Libson (1992) offered boldness and seduction – the costumes included bright color schemes (turquoise, royal purple and reds) that provided the ideal backdrop for the choreography. Clifton Brown, Antonio Douthit and Celeste Sims were standouts in this segment – especially Douthit. His toe touches appeared to defy gravity.
Solo (1997) is an oxymoron. It features three dancers and is traditional ballet in form, but remixed with contemporary movements found in liberal twists and turns.
The rigid and concisely calculated steps of the all-women ensemble piece Vespers (1986) successfully echoed a source of pain and power as the dancers – all dressed in black – presented a call-and-response method of movement.
The presentation ended in renewal of spirit by way of Ailey’s signature piece – regarded as the most recognizable ballet in dance – Revelations. Starkly opposite to Vespers, for Revelations the company is dressed in all white, and there is a sense of spirit even in the painful elements of the ballet.
The company worked hard to remain an ensemble cast, but through Revelations Alicia J. Graf and Douthit managed to outshine the rest of the company. Graf’s elegance and grace in maneuvering her long limbs through the movements of Fix Me, Jesus made it difficult to even notice her male counterpart. And Douthit’s solo opportunity by way of I Wanna Be Ready made me think he was divinely created to express himself through movement.
At least six encores to the original standing ovation were an indication that the impact of the company on the record-setting crowd will be everlasting.
“The audience came out with tears in their eyes, thanking us for an evening they will never forget – already asking when we were going to bring Alvin Ailey back,” Uthoff said.
“You can tell when you are in the presence of something special – and this was very spiritual in many ways.”
