Alvin Ailey-2012

ALVIN AILEY, DANCE AT ITS FINEST!

How many superlatives are there in the English language that can be used to describe Alvin Ailey American Dance Theater’s May 4 performance at the State Theatre? I could start with superlative, then transition into exciting, mesmerizing, compelling, creative, and then add powerful and dynamic. I could go on from there, but the point has been made.

The Alvin Ailey company brought the crowd to its feet several times during the production and had them standing, clapping, and dancing in the rows and aisles at the end. This was not an automatic Cleveland standing “O,” this was a well deserved tribute to one outstanding evening of dance!

Since the numbers aren’t necessarily going to be repeated in the other two presentations this weekend, going into detail about each segment isn’t necessary. It’s enough to make some general comments.

In 1958 Alvin Ailey and a group of young African-American modern dancers came onto the scene and captivated the dance world. They became legends who have performed before an estimated 23 million people in 71 countries.

When Ailey died in 1989, Judith Jamison, Ailey’s personal choice for the position, took over as Artistic Director. The question of whether the company would retain its high quality was raised. The query was answered when, in 2008, the company was recognized by a U.S. Congressional resolution for their being “a vital American cultural ambassador to the world which celebrates the African-American cultural experience.”

When Robert Battle become Artistic Director on July 1, 2011, again one of the questions was whether he could duplicate the fabled performances. Fear not dance aficionados. If the State Theatre presentation is any indication, the company is not only in good hands with Battle, but it seems to have gained a new presence.

The dancers are well-trained, skilled in dance techniques. There are no leads, no feature dancers, they are a melded unit. My notes reveal such words as powerful, gymnastic, motionless freezes, well supported lifts, torrid pace, fine interactions, lighting enhanced movements and sounds, flowing, total abandonment, strong hip thrusts, total body control, gorgeous visualizations, beautiful integration of music and movements, well selected musical pieces.

Though the entire evening was exciting, the best was saved for last, Ailey’s 1960 signature piece, REVELATIONS. Danced to traditional gospel music, highlighted by Rocka my Soul, the ten-segment composition bursts off the stage, leaving the audience standing, clapping and screaming. It’s an experience not to be missed. That number will close all three local performances.

Capsule judgement: It can only be hoped that it isn’t too long before the Alvin Ailey American Dance Theater returns to the area. This is a world class dance company that deserves to be seen over and over! Hallelujah!

Alvin Ailey American Dance Theatre, Ohio Dance Theatre, Antaeus Dance

Dance reviews: ALVIN AILEY, OHIO DANCE THEATRE, ANTAEUS DANCE

ALVIN AILEY amazes!

Imagine the nerve of a Black dancer/choreographer who, in the 1950s, at the height of segregation in this country, deciding to start a company whose purpose was to tell the story of African Americans. The person? Alvin Ailey. The results? A company that in 2009 is celebrating its 50th anniversary and is on an upward curve, while other arts organizations are withering on the vine.

The works of Alvin Ailey American Dance Theatre range from classical ballet, to jazz, to native American dance. Though Ailey died in 1989 at the age of 58, his hand-selected successor, Judith Jamison, took over the company and has helped it thrive.

Ask any of those who gave screaming curtain call after curtain call to the company in their recent State Theatre production, co-presented by Playhouse Square and Dance Cleveland, with sponsorship by Huntington Bank, and they’ll tell you that they had just experienced a presentation of dance wonderment!

In the company’s sixth Cleveland appearance, the program included ‘REVELATIONS,’ considered by many to be the best-known and most often seen modern dance piece. The program also included excerpts from ‘BLUES SUITE,’ one of Ailey’s earliest works. Also showcased in the fourteen selection program, were a powerful rendition of ‘STREAMS,’ the engrossing ‘MARY LOU’S MASS,’ the beautifully performed, ‘HIDDEN RITES,’ the finely honed ‘NIGHT CREATURE,’ and the sensual ‘PHRASES.’

The curtain call, the stirring ‘ROCKS THE SOLE,’ was a perfect ending to an outstanding evening dance which, on opening night of the three performance stand, was thoroughly enjoyed by the near sold-out audience.

CAPSULE JUDGEMENT: It is going to be interesting to see what happens as the Alvin Ailey American Dance Theatre confronts the future with the retirement of Jamison and a new, yet unannounced leader. Let’s hope that whoever is selected has the insight and creativity of the two preceding bright lights of dance.

OHIO DANCE THEATRE presents multi-leveled program

Denise Gula, the founder and artistic director of the Oberlin based Ohio Dance Theatre, is both a choreographer and a theatre person. As such, much of her dance repertoire has a dramatic, story-telling base.

In the company’s recent residency at Cleveland Public Theatre, as part of ‘DANCEWORKS 09, they presented a three-segment program. The opening piece, ‘WHEN I FALL,’ featured the talents of Janet Strukley and Brain Murphy in a well danced, dramatic piece which found the dancers in perfect harmony with the oft-changing musical sounds of Nat King Cole, James Edward Davis and Young and Heyman.

‘SPENDTHRIFT,’ which explored the beauty and power of the ocean’s water as it blows, creates foam, and swirls at the base of the shoreline, found five female dancers using their arms and bodies to move through space. A strong solo by Juliana Freude was a highlight of the classic piece which was set to Vivaldi’s Four Seasons.

The highlight of the program was ‘SILENT WITNESS,’ a tribute to women who are the victims of abuse. The number was inspired by an exhibit presented by Genesis House, which Gula witnessed. She states, “I found myself stunned and moved by the starkness and simplicity of the images. I wanted to make a ballet that would honor these women and help bring awareness to this disturbing social issue.”

In the main, Gula succeeds. There was live dancing by a solo performer, while simultaneously a video showed her falling in love, and the unfolding tumult and brutal relationship which had strong visual and emotional overtones. The music, the illusions of woman, man, children in conflict, and the pain was clearly depicted in the dance and movements of Janet Strukley and Kyle Primous.

Unfortunately, the piece become overly long and redundant by the addition of a music video which was seemingly tacked onto the ending. The dance, sans music video, ended on high emotion. No more was needed. The video, which introduced new people and another media, was overkill and weakened the overall effect.

The lack of a curtain call was a creative touch as it left the audience fidgeting uncomfortably in the strong emotions of the piece, encouraged to exit at their own pace, with the images lingering in their minds.

CAPSULE JUDGEMENT: Ohio Dance Theatre’s DANCEWORKS O9’ performance was well received. Gula’s ability to combine dance and theatre, gives the company a hands-up over other groups who often fail in telling stories which require more than dance proficiency.

ANTAEUS DANCE’S MOLT, molts

‘MOLT,’ Antaeus Dance’s offering at the recent Cleveland Public Theatre’s ‘DANCEWORKS 09, failed to ignite the audience. This selection, which was overly long, was often repetitious. How many ways and times can dancers arrange and rearranged a pile of straw? Yes, the company proposes to have “a sense of connecting to earth,” but what about this piece, beyond the straw, was earth connecting?

Choreographer Joan Meggitt states in the program that, “The group [those not dancing] acts as a mirror to the soloist’s interior life, with the soloist reflecting upon what the group, in turn, reflects back to her.” Oh, if only that were true. That may have been her intent, but it wasn’t what was visually presented.

The dancers, though they tried, were not always in sync. They needed much more work, and a honing of their skills by a purposeful choreographer.

CAPSULE JUDGEMENT: Joan Meggitt and the Antaeus Dance Company disappointed in their ‘DANCEWORKS ‘09’ presentation. Abstract descriptions and the lack of a clear mission do no a good dance program make!

Dance Preview, April/May 2009

VerbBallets, Alvin Ailey and CPT’s Dance Works ’09

There’s going to be a lot of dancing goin’ on in Cleveland in the next month. Verb Ballets, Alvin Alley American Dance Theatre and Cleveland Public Theatre’s ‘DANCE WORKS ‘09’ will be populating various area stages.

VERB BALLETS Gets In The Groove!

Verb Ballets, Cleveland’s National Repertory Dance Company, returns to Play House’s FusionFest for a two-night stand that highlights the company’s season of collaborations, called ‘IN THE GROOVE!’

New works from nationally respected choreographers Dianne McIntyre, Michael Medcalf, and Ulysses Dove will be showcased.

Performances take place May 1 and 2, 2009 at 7:30 p.m. at the Cleveland Play House.

Reserved seats are available by calling 216-795-7000 or through www.clevelandplayhouse.com.

ALVIN AILEY AMERICAN DANCE THEATER

A notable event is taking place in Cleveland mid-May. The ‘ALVIN AILEY AMERICAN DANCE THEATER 50TH ANNIVERSARY TOUR’ comes to Playhouse Square May 15-17, 2009 at the State Theatre.

The company is presented by PlayhouseSquare in partnership with DANCECleveland.

The program, featuring excerpts of over a dozen ballets spanning each decade of Alvin Ailey’s career, includes beloved works as well as rare gems not seen in three decades. Beginning with Blues Suite, the dance that launched the company in 1958, to Opus McShann, his final piece thirty years later, and closing with the classic Revelations, this retrospective demonstrates the range and resonance of one man’s genius.

For tickets, which range in price from $10 to $70, call 216-241-6000 or go on-line to www.playhousesquare.org.

DanceWorks 09 at Cleveland Public Theatre

April 23 - April 26
Inlet Dance Theatre
Acclaimed both locally and internationally, Inlet Dance Theatre's accessible and powerful signature choreography speaks about the human condition. Repertory for the engagement features world premieres including a work based on the company's recent global travels, along with a remounting of the heartfelt Memoriate.

April 30 - May 3
Antaeus Dance
Directed and choreographed by Joan Meggitt, the company presents Molt, which explores the transformation that results from stripping away undesirable habits and patterns to reveal the essence of the individual.

May 7 - May 10
Ohio Dance Theatre
Choreographed by Denise Gula, Ohio Dance Theatre premieres Silent Witness, a multimedia work that reveals the darkness of the human soul, by honoring victims of domestic violence. Also presented is Spindrift, a contemporary ballet performed to the music of Vivaldi's Four Seasons.

May 14 - May 17
Double-Edge Dance
XspanD is a series of solos and duets formed around the spans of time, memory and relationships. Choreographed by Kora Radella, Julie Brodie and Balinda Craig-Quijada, the pieces are danced to new music composed by Ross Feller and performed by violinist Dorothy Martirano and bassist Armand Beaudion.

May 21 - May 24
Open Window Dance Company
Choreography by Tammy Metz Starr, Coloring Pages, uses IWDC’s unique approach to painting the stage with dances drawn from Asian movement forms.

For tickets to all DanceWorks 09 performances, call 216-631-2727, x501