“font-family: Verdana; font-size: 13px; line-height: 14px;”>It would take two visits to fully capture the Alvin Ailey American Dance Theater’s latest stop in St. Louis. Thanks to Dance St. Louis, the Fox Theatre became the weekend home for the world’s most famous dance company.
“font-size: 10pt; line-height: 115%; font-family: Verdana;”>It was as much a celebration as a dance presentation, a thrilling combination of black history, black power and black dance that created a common bond among all who watched.
“font-size: 10pt; line-height: 115%; font-family: Verdana;”>In 2011 AADT, is celebrating 50 years of Revelations – a ballet created by Ailey that vividly illustrates the African-American experience from slavery to freedom through movement. The organization is also honoring dance icon Judith Jamison as she enjoys her final bow as artistic director, and welcoming Robert Battle to lead the company into the future.
“font-size: 10pt; line-height: 115%; font-family: Verdana;”>On Friday evening, the troupe began the show with Uptown. Choreographed by Matthew Rushing, this homage to the Harlem Renaissance was uncharacteristically underwhelming, brightened only by Clifton Brown’s performance to the words of Langston Hughes for Weary Blues.
“font-size: 10pt; line-height: 115%; font-family: Verdana;”>In Camille A. Brown’s The Evolution of A Secured Feminine, Rachael McLaren poured her heart and soul into an extended solo performance that featured the sounds of jazz ladies Ella Fitzgerald, Nancy Wilson and Betty Carter.
“font-size: 10pt; line-height: 115%; font-family: Verdana;”>But Ailey as many have come to know would really take the stage with Battle’s The Hunt. From the onset of the pulsating tribal music to the intricate high energy and fast-paced movement, it snatched the breath from the audience.
“font-size: 10pt; line-height: 115%; font-family: Verdana;”>As St. Louis’ own Antonio Douthit circled the stage alongside the company’s strongest male members, Battle’s choreography inspired a sense of wonder and optimism for the next chapter of Ailey.
“font-size: 10pt; line-height: 115%; font-family: Verdana;”>Revelations
“font-size: 10pt; line-height: 115%; font-family: Verdana;”>was introduced through a video presentation that featured Ailey and Jamison speaking about and dancing in early presentations of the piece. The performance then moved audiences to their core with the tragic ache for existence of Pilgrim of Sorrow, the spiritual warfare of I Wanna Be Ready and the joy of Rocka My Soul.
“font-size: 10pt; line-height: 115%; font-family: Verdana;”>Saturday’s showcase would be classic Ailey from start to finish. The revival of Ailey’s 1974 ballet Night Creature accompanied by the music of Duke Ellington kicked off the afternoon show. The movements of the piece implied a celebration of Harlem in its heyday, instead of overstating it like Uptown had done the night before.
“font-size: 10pt; line-height: 115%; font-family: Verdana;”>The raw emotion that lingered in Yannick Lebrun’s performance Robert Battle’s In/Side once again left an expectant sense of wonder for the company’s future.
“font-size: 10pt; line-height: 115%; font-family: Verdana;”>It was a perfect segue into Anointed, which celebrated the legacies of Ailey and Jamison. Douthit was flawless in his portrayal of Ailey. His perfect form and range of motion incorporated every inch of his body – from extended fingertips to pointed toes.
“font-size: 10pt; line-height: 115%; font-family: Verdana;”>In Saturday’s presentation of Revelations, Douthit and Lebrun joined Jamar Roberts, Kirven James Boyd and Vernard J. Gilmore to create a fabulous five of dance talent. Thanks to them and the works of Robert Battle, all eyes will be on Ailey as they dance into the future. “font-family: Verdana; font-size: 13px; line-height: 14px;”>
