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Alvin Ailey, Rebooted

Alvin Ailey American Dance Theater Chroma, D-Man in the Waters (Part I), LIFT New York, City Center 20 December 2013 www.alvinailey.org www.nycitycenter.org Ailey, Recharged Since stepping into Judith Jamison’s shoes just two-and-a-half years ago, Robert Battle has set in motion a quiet revolution at Alvin Ailey American Dance Theater. Like his frequent curtain speeches, Battle’s leadership seems to combine a lack of flash with a determination to honor and extend the virtues of his dancers. He may appear low-key, but don’t be fooled. As he said, with a self-deprecating chortle, before a recent performance, Ailey fans should tighten their seatbelts. Battle seems intent on demonstrating that Ailey dancers can dance anything, no matter what the style or mode of composition (contemporary ballet, modern dance, post-modern dance, hip-hop). But what is in a way even more striking is how the repertory he chooses – often, it must be said, by trendy choreographers – is transformed by the Ailey dancers, with their combination of individuality and collaborative spirit. Despite registering strongly as individual personalities, they are equally involved with each other onstage; like the members of a family, each dancer has his role to play. And one can feel the dancers’ hunger for new challenges – I have yet to see a less than full-throttle performance, even when a choreographer’s style does not quite fit the company’s technique, as with Paul Taylor’s Arden Court last year. Often, they reveal aspects or colors I’d never noticed before. I’m always surprised by how, in the finale of Ohad Naharin’s Minus 16 – a portrait of postmodern Israeli alienation – the Ailey dancers manage to show concern for the audience members they lure onto the stage. Instead of feeling terrified and embarrassed, their “victims” sense that they will be looked after; because of this, they are able to really let themselves go. Jacqueline Green in Wayne McGregor's Chroma.© Paul Kolnik. (Click image for larger version) Jacqueline Green in Wayne McGregor’s Chroma. © Paul Kolnik. (Click image for larger version) The new works this season – Chroma, D-Man in the Waters (Part I), and Lift – are a typically eclectic mix. Chroma, by the British choreographer Wayne McGregor, whose whiplash-inducing style and penchant for cool lighting displays have propelled him to the forefront of contemporary ballet, seems geared to show that the Ailey company can be as contemporary and dazzling as anyone today. Ailey is also the first non-ballet company in the US to take on Chroma, originally made for the Royal Ballet (in 2006). (It is performed off-pointe.) Whatever the values of the ballet – and I’ll admit its de-humanized, often sexual contortions, blaring score, all-white set, and fierce presentationalism leave me quite cold – Battle has proved his point. These dancers can twist and split their legs and slide and grapple with the best. And they look good doing it. In a slow, stretchy pas de deux, the gorgeous, long-limbed Alicia Graf Mack, especially, transforms herself into something not quite human, capable of bending and twisting to almost frightening extremes. (McGregor has a way of turning dancers into a catalog of body parts.) At times, her long, curled-over leg is reminiscent of a scorpion’s tail. Alicia Graf Mack and Vernard J. Gilmore in Wayne McGregor's Chroma.© Paul Kolnik. (Click image for larger version) Alicia Graf Mack and Vernard J. Gilmore in Wayne McGregor’s Chroma. © Paul Kolnik. (Click image for larger version) But not even these dancers can imbue Chroma with rhythmic variety or subtle accents – there is nothing subtle about McGregor’s arm-yanking couples or the way the men constantly pry the women’s thighs apart – but they do manage to color the movement with theatrical undertones and style. The work comes across as less violent, more attitude-driven, like a music video. Alvin Ailey American Dance Theater in BIll T. Jones's D-Man in the Waters (Part 1).© Paul Kolnik. (Click image for larger version) Alvin Ailey American Dance Theater in BIll T. Jones’s D-Man in the Waters (Part 1). © Paul Kolnik. (Click image for larger version) D-Man in the Waters (Part I) is perhaps the best-known work by the American modern dancer and choreographer, Bill T. Jones, (it was revived by his own company just this year). Created in 1989 at the height of the Aids crisis, D-Man is a cry of defiance against the disease. It is less notable for its actual dance vocabulary than for its energy and joy. (Similarly the Mendelssohn Octet to which it is set is built upon the insistent repetition of a single motif.) It is a dance of life, clearly meant to evoke a community of people fighting for survival, with exuberance and love. Lines of camouflage-wearing dancers form and dissolve, bodies dive and fall, dancers “swim” vehemently against the tide. At Ailey, the balletic notes of the work stand out: feet are pointed, pirouettes are rigorously vertical, feet skitter in petit allegro. The clarity allows certain details to pop, as when one of the dancers (Michael Francis McBride) returns to the stage to pick an invisible flower and hold it delicately in his hand. The Ailey dancers capture the work’s warmth and underlying innocence, toning down their big personalities to allow the piece to speak for itself. In a quartet for a man and three women in which each teeters toward the floor, Jammer Roberts – who is having a fantastic season – stands out for his gentle concern, so remarkable in a man with his Atlas-like physique (he is six foot five). Belen Pereyra, Michael Francis McBride and Rachael McLaren in BIll T. Jones's D-Man in the Waters (Part 1).© Paul Kolnik. (Click image for larger version) Belen Pereyra, Michael Francis McBride and Rachael McLaren in BIll T. Jones’s D-Man in the Waters (Part 1). © Paul Kolnik. (Click image for larger version) That physique is put in dramatic relief in the third première, the only completely new work this season, Aszure Barton’s Lift. This is Barton’s first collaboration with the company; the Canadian choreographer has her own modern dance ensemble, and has also worked with Netherlands Dance Theatre, Mikhail Baryshnikov, and American Ballet Theatre (among many others). Even so, as often happens when a choreographer is exposed to this company, she has – consciously or unconsciously – created an “Ailey” piece: high-energy, with a strong rhythmic impulse and a not-so-subtle African flavor. (The bouncing steps, the wing-like arms, the grass-like frayed skirts.) That said, it’s the only work on the program that allows us see the dancers in a new light, revealing aspects of their technique and physical qualities untapped elsewhere. Barton seems particularly fascinated by Jammer Roberts’s back, a knotty landscape of muscle and concentrated energy. As he rolls, twitches, and billows his torso beneath a bright light, facing away from the audience, his arms fluttering and beating like the wings of a pterodactyl, his body becomes a rocky landscape. He crouches, on his tiptoes, and slowly expands, becoming twice his original size, seeming to fill the whole stage. Linda Celeste Sims and Jamar Roberts in Aszure Barton's LIFT.© Paul Kolnik. (Click image for larger version) Linda Celeste Sims and Jamar Roberts in Aszure Barton’s LIFT. Photo by Paul Kolnik.
Linda Celeste Sims and Jamar Roberts in Aszure Barton’s LIFT. Photo by Paul Kolnik.

My final review of the season is of three premières at Alvin Ailey (by Aszure Barton, Bill T. Jones, and Wayne McGregor). The company, under the still-new leadership of Robert Battle, is looking great. Here‘s my review.

And a short excerpt:

“But what is in a way even more striking is how the repertory [Battle] chooses – often, it must be said, by trendy choreographers – is transformed by the Ailey dancers, with their combination of individuality and collaborative spirit. Despite registering strongly as individual personalities, they are equally involved with each other onstage; like the members of a family, each dancer has his role to play. And one can feel the dancers’ hunger for new challenges – I have yet to see a less than full-throttle performance, even when a choreographer’s style does not quite fit the company’s technique, as with Paul Taylor’s Arden Court last year.”

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Back to Basics–Balanchine “Black and White” at NYCB

Sterling Hyltin in "Symphony in Three Movements." Photo by Paul Kolnik.
Sterling Hyltin in “Symphony in Three Movements.” Photo by Paul Kolnik.

New York City Ballet went back to basics this week with its “Black and White” program. All Balanchine, all modernist ballets performed in pared-down leotards and tights: The Four Temperaments, Episodes, Duo Concertant, and Symphony in Three Movements. Here’s my review of the evening for DanceTabs.

And a short excerpt: “The program, a compilation of modernist ballets set to music by Webern, Hindemith, and Stravinsky that span three decades (1946-1972), is a kind of compendium of the choreographer’s most radical, game-changing esthetic. Its distinctive mix of courtliness, mystery, and eroticism still surprises. Not to mention its musical intelligence, which can make sense of a work as impenetrable – and as seemingly undanceable – as Anton Webern’s pointillist Opus 21 symphony.”

The “Black and White” program repeats on Sept. 28, Oct. 1, Oct. 4, and Oct. 13.

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Of Bugs and Men—Arthur Pita’s “Metamorphosis” at the Joyce

Edward Watson in The Metamorphosis. Photo by Tristram Kenton.
Edward Watson in The Metamorphosis. Photo by Tristram Kenton.

Finally, a production that puts contem-porary ballet’s  extreme feats of flexibility to use! Arthur Pita’s “Meta-morphosis,” now playing at the Joyce, is a kind of cross between the rubber-band contortions of Wayne McGregor and the theatrical savvy of Matthew Bourne. And at the heart of it all, an extraordinary performer, Ed Watson, who, for an hour and a half, ties himself into knots to give physical form to the torments of Gregor Samsa, the victimized hero of Kafka’s tale. But in the end, the problem remains; our eye becomes inured to the strangeness and the effect dissipates. Here’s my review for DanceTabs.

I’d love to hear other people’s reactions to the show.

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Of Princes and Swans

Herman Cornejo's curtain call on June 21. Photo by Leena Hassan.
Herman Cornejo’s curtain call on June 21. Photo by Leena Hassan.

There were several débuts in ABT’s Swan Lake this week. I caught two: the soloist James Whiteside (dancing with Gillian Murphy) and Herman Cornejo (alongside Maria Kochetkova, of the San Francisco Ballet). Cornejo danced to the manner born–he was put on this earth to play Siegfried, it seems. The only thing that has kept him back this long is the everpresent problem of finding a partner of his size who dances with the same panache and scale. Originally he was scheduled to perform with Alina Cojocaru, who just retired from the Royal Ballet. But she pulled out at the last minute (because of an injury, they say), and was replaced by Maria Kochetkova. In many ways, Kochetkova is just right for him, though she doesn’t seem to have the same open-heartedness or warmth. But who does?

Here is my review of both casts, for DanceTabs. 

And a short excerpt:

“Cornejo is in the flower of his career, and it was clear from his first steps on the stage that he was more than ready for the challenge. In fact, it was as if he had been dancing Swan Lake all his life. In the first scene, he flirted boyishly with one of courtiers (Luciana Paris), kissed her hand with budding ardor as if wondering, “could she be the one?” Just as clearly, one could read the disappointment in his eyes. His first-act meditation solo, full of aching arabesques and slow swivels with one leg curving behind him (renversés), was delivered as one long thought: “where is my true love? How will I find her?”

Maria Kochetkova and Herman Cornejo at their curtain call. Photo by Leena Hassan.
Maria Kochetkova and Herman Cornejo at their curtain call. Photo by Leena Hassan.
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Ashton in Love: “A Month in the Country” at ABT (for DanceTabs)

Hee Seo and David Hallberg in Ashton's "A Month in the Country." Photo by Marty Sol.
Hee Seo and David Hallberg in Ashton’s “A Month in the Country.” Photo by Marty Sohl.

This week, between Cranko’s “Onegin” and the rip-roaring “Don Quixote,” American Ballet Theatre performed a triple bill including Ashton’s late ballet “A Month in the Country.”  I saw two casts, with Julie Kent and Roberto Bolle in one, and Hee Seo and David Hallberg in the other. Here’s a link to my review for DanceTabs .

And a short excerpt:

“In forty-five minutes and with the assistance of Chopin (and, indirectly, of Mozart), Ashton has taken the heart of the Turgenev play and turned it into a series of tender miniatures. With great skill, wit, and love, he sews them together (with ribbons) into a portrait of a sentimental married woman experiencing pangs of longing for a young man, but also of her comfortable little world and the emotions that turn it topsy turvy. Russia, by way of the Cotswolds.”