Reveling in ‘Revelations’ (and More)

The Alvin Ailey American
Dance Theater knows how to celebrate itself and its impressive history, and
never misses an opportunity to create a sense of occasion. In 2008, the
company’s 50th anniversary was rightly the focus of many special events, and
last year the company saluted the 20th anniversary of Judith Jamison as
artistic director, which is winding down; Robert Battle, now artistic director
designate, takes over from her next summer.

This season, the company is
marking the 50th anniversary of Alvin Ailey’s most enduring and powerful work, Revelations, in a number of ways. It is
traditionally the closing work on most Ailey programs every season, so the
spotlight is being shined on it with some extra bells and whistles. An
excellent short film (produced and directed by Judy Kinberg) that puts Ailey’s
creation of the work, and its status as a modern-dance classic, in context, is
shown before each performance of Revelations.
A select few performances feature live music, and on four occasions the work is
being expanded to include a cast of 50, with members of Ailey II and Ailey
School students joining the regulars on stage.

On Friday, this proved to be
an interesting, lively adaptation for those who know the work already. Revelations is so pure and direct in its
emotional connection with an audience that it certainly doesn’t need to be
amplified. The additions worked best in the always stunning, amazingly eloquent
opening section, “I’ve Been Buked.” The usual wedge of dancers stood with
uplifted heads at the start, and as they sank and rose, reached and twisted
through its fervent phrases, several more dancers would join in from both wings
at various moments. Then when the wedge reassembled as the section drew to a
close, it had expanded to fill much of the stage, and what seemed like dozens
of golden hands opened out and down in staccato rhythm on the music’s final
notes.

Adding very young students
to the festive Processional in white that precedes “Wade in the Water” was a
lovely touch, but doubling the size of one trio and turning a solo into a trio,
didn’t do anything to enhance those portions of the work. The “Rocka My Soul”
finale featured a slightly enlarged ensemble of company members, with costumed
younger dancers streaming into the aisles and joining in enthusiastically. This
super-sized Revelations will be
repeated Dec. 11, Dec. 12 and Dec. 18.

The season is offering
several new works and revivals. Battle’s The
Hunt, a powerfully primal work for six men in long draped skirts, is a
viscerally thrilling showcase. The muscular Ailey men bring an athletic attack
and fierce intensity to this contemporary ritual, in which they seem to be a
blend of Olympian competitors and ancient warriors. The loud, reverberant,
pounding percussion score (by Les Tambours du Bronx) sets the tone, which is
exciting but not exactly subtle.

A premiere by Christopher
Huggins (a former company member), Anointed,
is perhaps too noble in its intentions. It alludes to Ailey’s passing of the
torch to Jamison, and celebrates other major players in the Ailey pantheon as
well as the organization’s current blossoming and healthy future outlook. Press
notes—and the titles of its three sections—indicate that Jamar Roberts and
Linda Celeste Sims, the work’s exemplary central couple, represent Ailey and
Jamison, and Jamison’s voice (saying “When Alvin asked me to take over the
company, I said, ‘sure’”) is sampled and interpolated into the music by Moby
that accompanies their striking duet. The choreography, with its sweeping,
fluent lifts and sleek athleticism, demands split-second precision, and the
cast of 10 delivers no-holds-barred performances. But the sleekly efficient
work comes across as overly earnest; the moment when Roberts-as-Ailey slowly
walks offstage towards a bright light is a bit much. Anointed is an affirmation of who the Ailey dancers are, in all
their glory, but not an insightful exploration of who they might become.

Dancing Spirit, last season’s richly resonant new work by Ronald K. Brown, also
alludes to the Ailey company’s history, but with a less heavy hand, and with an
air of quietly mysterious calm that allows the dance to insinuate itself into
the viewer’s perceptions, rather that making a slam-bang impact. Returning this
season—on a program with Uptown,
Matthew Rushing’s charming, intelligent evocation of the Harlem Renaissance
that gives many dancers lovely individual moments in the spotlight—Dancing Spirit comes across as even more
singularly powerful, and unlike anything else in the repertory. Though it is
more meditative than showy, the audience at its first performance of the season
rewarded it with a prolonged cheering ovation that the nine dancers richly
deserved. 

Alvin Ailey American Dance
Theater

Through Jan. 2, 2011, City
Center, 131 W. 55th St. (betw. 6th & 7th Aves.), 212-581-1212; $25 &
up.