The Alvin Ailey American Dance Theater is best known for its, well, dances. When I went to see one of the company’s shows a few weeks ago, however, I saw that this was far more than a group of dancers. It was a group of artists.
The Alvin Ailey Company’s work can best be described as a rich fusion of dance, music, culture, color, and acting, a stimulating, thrilling ride that is bound to captivate even those that don’t enjoy dance shows. Simply looking at the cover of this season’s playbill will tell you that the company is about more than just showcasing complex choreographies. It strives to create an image, to appeal to every sense in an interactive performance filled with emotion and rhythm.
The 2010-2011 Season Alvin Ailey Playbill
The best example of this is the first piece I saw that night at the NYCity Center, which was “Anointed.” Emotionally and musically diverse, “Anointed” was as mystifying as it was enthralling, indulging the audience in a sensual, empowering love story of sorts. The first part, “Passing,” depicted the tense yet passionate encounter of a man and woman. Backed by an eerily hypnotizing score whose style reflected that of Phillip Glass, the dancers displayed a complex array of emotions, seemingly both loving each other and fearing each other at the same time. The female dancer, Linda Celeste Sims, was an especially convincing performer, putting on an agitated, wounded expression that captured well the overall feeling of the piece. The second part of “Anointed,” called “Sally Forth,” was much more uplifting, as the dancing was now more fast-paced and aggressive. The five women performing in the piece were completely taken by the music, possessed and empowered by a god of dance. Their fierce, determined faces paired the thunderous pulsing of the African drums made for a very captivating piece that was quite different from its antecedent. The sharp change in mood was also mirrored in the new colors that took hold of the stage. Whereas in “Passing,” the performers were engulfed in black to represent the graveness of the piece, the performers in “Sally Forth” donned bright fuscia dresses to match the energy of the drums. The third and final part of “Anointed,” “52 and Counting,” was probably my favorite. It was the complete opposite of “Passing,” a very sensual, happy piece. The sheer exuberance radiated by the performers was highly inspiring, an entirely genuine gesture. The whole of “Anointed” seemed to build up to this one piece, and it gave the perfect sense of resolution that “Passing” desperately called for.
A snapshot from "Passing"
With its mesmerizing rhythms and constantly transitioning moods, Alvin Ailey’s “Anointed” was both captivating and invigorating. I was kept on my toes throughout the whole performance, and was actually sad when it was time to go home. Nevertheless, I was very satisfied, feeling as if I had just experienced something much deeper than a dance show. I had been transported, taken on an emotional roller coaster. No, the school of Mr. Ailey did not disappoint, and I hope to be back at the NYCity Center soon, even if it is to watch the same pieces again.
Great review