© Paul Kolnik Alvin Ailey 'Golden Section' reviews 'Golden Section' reviews 'The River' reviews 'Revelations' reviews recent Alvin Ailey reviews more Oksana Khadarina reviews

Ailey had a special reverence and admiration for Duke Ellington, the most prominent figure in the history of American jazz. Speaking of the maestro’s talent, Ailey described him as “authentic genius”. . .“a man who spoke to all mankind, a voice crying out against darkness and negativism.” Their collaboration began in 1963. Inspired and driven by the sophistication and sheer beauty of Ellington’s compositions, Ailey choreographed fifteen dances to his music. The River, a ballet created in 1970 for the 30th anniversary of American Ballet Theater, was perhaps the finest work of Ailey’s Ellingtoniana. With this truly enchanting piece, the AAADT opened its six-day visit to the Kennedy Center Opera House earlier this month.

Deeply poignant and captivating, The River is a music-inspired abstract of eight movements choreographed to evoke the gentle, silky flow of water. Based on classical ballet idiom, each segment of the dance brings to mind a distinct array of moods, impressions and nuances. The rich, luxuriant tonality of Ellington’s symphonic score immeasurably contributes to the great appeal of this dance. The balletic nature of The River was certainly no obstacle for the versatile Ailey dancers: they performed with the consummate mastery and elegance required.

The opening solo in “Spring” showcased one of the company’s brightest stars, Clifton Brown. Long extended stretches, whirling multiple pirouettes and unsupported arabesques were all danced in slow motion a remarkable exhibition of gracefulness and technical finesse. A dashing couple, Gwynenn Taylor Jones and Antonio Douthit, brought sparkle and exuberance to their playful duet in “Giggling Rapids.” A powerful and dynamic male quartet in “Falls” (Clifton Brown, Jamar Roberts, Vernard Gilmore and Kirven Boyd) demonstrated astonishing virtuoso technique in soaring leaps, spins and turns in midair, proving that even the impossible is possible for the Ailey dancers. In “Vortex”, the tall and graceful Alicia Graf left a big impression, surprising the audience with her endless extensions and beautiful balances. And Guillermo Asca nearly stole the show in comical and jazzy “Riba" .
 

No doubt Ailey’s troupe is in good hands. Judith Jamison, the former company’s star and current artistic director, strives not only to preserve Ailey’s choreographic legacy but also to expand and enrich AAADT’s dance repertoire with some of the best contemporary choreographic works. One of the company’s recent acquisitions was Twyla Tharp’s The Golden Section, an all-dance finale of “Catherine Wheel,” the musical, which Tharp choreographed on Broadway in 1981. Performed by an ensemble of seven men and six women, this 15-minute piece is a blissful tour-de-force, a nonstop series of exhilarating solos, duets and group dances, united in its relentless energy and accompanied by a pulsating electronic rock score of David Byrne. Tharp’s choreography, distinctive in its phenomenal speed and breathtaking athleticism, is not for the squeamish. Yet this synthesis of dance and sport proved a perfect fit for the intrepid Ailey dancers. Dressed minimally in glittering gold finery designed by the modern dance couture guru, Santo Loquasto, the performers held the audience awestruck throughout the dance. “My dancers must be able to do anything, and I don’t care if they are black or white,” Ailey used to say. The Golden Section’s tricky lifts, soaring jumps and throws were executed with exhilarating energy and reckless abandon. The dancers proved themselves multitalented performers, able to master the most challenging choreographic elements.

The program concluded with a triumphant performance of Revelations the company’s symbolic anthem. If Ailey had created just one dance – Revelations – his name would still be inscribed in gold letters in the history of modern dance. Created in 1960, the choreographer’s artistic testament, Revelations, has touched and inspired millions of people around the world. He envisioned this dance as a reflection of his childhood memories in motion, creating a timeless classic of our universal experience, relevant and close to all of us regardless of color, religion or class. By means of intense choreographic theatricality superbly matched to selected gospels and spirituals, and utilizing attractive props and costumes, Ailey created visually stunning, unforgettable images. From the dance’s ritualistic opening scene to its joyful, uplifting finale, it is a true celebration of Ailey’s spirit, a heartrending, everlasting revelation.