Review: Alvin Ailey American Dance Theater Programmes 1 & 2

Alvin Ailey American Dance Theater (AAADT) is one of the most vibrant and exciting troupes in the US. Predominantly, though not exclusively, African-American, its 32 highly technical dancers burst with vim and energy, but are capable of great finesse and moments of deeply moving introspection.

All that is on show in the company’s signature work, Revelations, created in 1960 by Alvin Ailey himself. It has since been a key part of every performance, and yet it remains as fresh, vibrant and totally engaging as ever.

Set to spirituals and gospel music, it’s made up of a series of numbers, all encapsulating the deep spirituality of African American culture, alongside its resilience, joie de vivre and humour. In the pensive opening number, I Been ‘Buked, the curtain goes up on a cluster of dancers clad in earthy tones looking beseechingly upwards to heaven. Their movement is strongly influenced by the language of the pioneer of modern dance Martha Graham: deep pliés in second position, bodies leaning at an angle to legs raised high, stretched arms with palms facing front.

As it progresses, Revelations touches on many moods: the demonic whirlwind vigour of Sinner Man, danced by three men against a backcloth depicting flames, contrasts with I Wanna Be Ready, a solo for a white-clad man yearning for salvation; and the rousing finale, Rock my Soul in the Bosom of Abraham, danced by the ensemble in their Sunday best (pictured top), is guaranteed to send audiences home with their hearts soaring..

In programme 1, Contemporary Voices, Revelations was preceded by Kyle Abraham’s Are You In Your Feelings? and two short pieces by the company’s current director, Robert Battle.

Abraham’s spirited work tantalises with fragments of many stories; a dozen dancers come together and break apart, flirt, exchange glances.

Alvin Ailey American Dance Theater in Kyle Abraham's Are You in Your Feelings?. Photo: © Paul Kolnik
Encounters defy gender roles. Danced to a medley of pop, blues and hip-hop by the likes of Drake and Kendrick Lamar, its language is fluid, combining classical lines with a jazzy insouciance. It’s a beautiful work.

Battle’s For Four has a foursome in black tuxedos with glittering braces responding to the fast rhythms of Wynton Marsalis’s trumpet in a dizzying continuum of jazz movement that portrays pure enjoyment, Al Crawford’s lighting creating a nightclub atmosphere.

Alvin Ailey American Dance Theater in Robert Battle's For Four.Photo: © Paul Kolnik
Unfold is a very brief, very intense duet danced to the great American soprano Leontyne Price’s rendition of an aria by Charpentier about the first day of love. In its jagged poses it appears to portray a blend of attraction and terror. It is a bold, interesting, yet difficult piece.

In the second programme, Modern Masters, these two works replaced at short notice a previously announced Twyla Tharp piece, which was disappointing; but there was much to enjoy with the repeat of Revelations and a first outing for Ronald K Brown’s Dancing Spirit, a fascinating blend of contemporary dance, African tradition and Cuban movement, danced to music by Duke Ellington, Wynton Marsalis, Radiohead and War, and created on perhaps the greatest exponent of AAADT, Judith Jamison, now the company’s artistic director emerita.

Constance Stamatiou commanded the stage in the Jamison role, elegant and dignified, a perfect focus for the supporting ensemble of eight.

Alvin Ailey American Dance Theater's residency at Sadler's Wells continues until Saturday 16 September