As Dance Theatre of Harlem opened their performance, audiences probably prepared themselves for ballet in its purest form. Aside from the phenomenon of mostly black and brown performers fitted in Pamela Allen-Cummings’ traditional classical costumes, the first movement of the opening ballet created the illusion of a diverse troupe offering the typical professional ballet performance.
The music of Johann Sebastian Bach blared through the Touhill Performing Arts Center. Men in tights and women on pointe showcased years of classical training put to good use with the iconic troupe.
But by the second movement of “New Bach,” the idea of experiencing an impressive, but ordinary classical ballet performance was out the question for an audience who waited more than a decade to see the legendary dance company’s St. Louis return.
With Robert Garland’s modified choreography – that seemed to borrow movement elements from influences that ranged from “The Harlem Shake” street dance craze to Beyoncé –the tone was set for an evening of dance that would destroy the boundaries of ballet.
As the performances effortlessly meandered between modern and traditional, they managed to shift the paradigm with respect to expectations of ballet as well as represent classical dance for a new generation.
Four ballets would be featured in the Dance St. Louis presentation and with the exception of “Tchaikovsky Pas De Deux,” each progressively nudge audiences further outside the presumed borders of traditional ballet.
George Balanchine’s “Tchaikovsky Pas De Deux” served the purpose of showcasing Dance Theatre of Harlem’s roots in classical and the company’s ability hold its own in comparison to historic mainstream troupes.
And for the Saturday evening performance Nayara Lopes and Da’Von Doane were up for unyielding physical demands of the performance to say the least.
“Dancing on the Front Porch of Heaven: Odes to Love and Loss,” tugged at the heartstrings of the audience. The ballet is Ulysses Dove’s emotional outpouring in response to – and remembrance of – the deaths of 13 close friends and family.
Dressed in all white, the group of dancers effectively recreate pain, sorrow, frustration, confusion and hope as they are aided by muted sounds and the absence (and amplification) of light.
Darrell Grand Moultrie’s “ Vessels” proved a fitting finale for Dance Theatre of Harlem.
Through this particular ballet, one sees the classical foundation paired with a myriad of outside influences – mainly modern dance – which created a visually stunning experience that was the polar opposite of how Dance Theatre of Harlem introduced themselves at the start of the show.
From the costumes to the accompaniment, the piece proved that Dance Theatre of Harlem is not a company that is rigid and unwilling to make room for new concepts within their realm of classical dance.
And through “Vessels” Moultrie creates a fitting final thought for audiences who experience Dance Theatre of Harlem – a company that is rooted in rich tradition but willing to be remixed to match a new generation.
“Vessels” not only presents the vision of founders Karel Shook and Arthur Mitchell to a new era of dance lovers, but also sheds light on those (himself included) who are building upon the Dance Theatre of Harlem legacy through works that reflect their own influences and perspective of creative expression.
