THE TRANSATLANTIC MAGAZINE
THE TRANSATLANTIC MAGAZINE
On a day when London hit 31C, watching those black southern Baptist ladies with their delicate hats and fans all a flutter dancing before a giant scorching sun was a bit close to the bone. At least we had aircon (thanks Sadlers Wells). That of course is from Ailey's eternal classic Revelations (1961), set to a series of spirituals, which serves as the finale to all their programs and which I always think I might tire of but never do. A true classic.
The company has never been better and their (almost) annual September visits are a highlight of the London dance year. This year they bring 12 pieces across four programs themed as: Contemporary Voices; Modern Masters; Ailey Classics; and 21st Century Creations. You could take in all 4 and not be bored, which is testament to the richness and variety of their programming.
Injury prevented us seeing Twyla Tharp's Roy's Joys (2021) on the second night, but it was replaced by two Robert Battle pieces from the first program, For Four (2021) and Unfold (2007). The former takes 4 amazing Ailey dancers and adds in Wynton Marsalis's frenetic jazz score, written in 4/4 time. With its lightning sharp spins, it's a physical explosion of pent-up energy and the sharp suited dancers in their glitter lapels are just electric.
By contrast Unfold is short and set to Leontyne's Price's classic recording of Charpentier's aria 'Depuis le jour'. It's a pained hymn to the burning intensity of first love.
Dancing Spirit (2023) is a new piece by Ronald K Brown set to music by Duke Ellington, Wynton Marsalis, and War and it coalesces into something rather remarkable - a lazy luscious Latin Jazz wallow. At times they dance in circles giving it a whole '70s hippie retreat vibe which is greatly enhanced by Omotayo Wunmi Olaiya's costumes with their blue-grey tie-dye chic. Brown uses Cuban and Brazilian-infused steps which throughout exude a confident joy and abandonment in the music and literally a spring in your step. The ensemble work is ravishing.
Then there's Revelations, with one stunningly sculpted tableau after another. The staging is clean and eloquent - a white clothed procession ripples across the stage with their white billowing flags, 'Goin' to the River'. James Gilmer's partnering of Caroline T Dartey in the anguished, ecstatic, duet 'Fix Me Jesus' is simply riveting. There's a wonderful hip swagger in the lighter moments which is pure Ailey – fusing the classical with the vernacular as only he could.
The evening concludes with the joyous, rousing 'Rocka My Soul in the Bosom of Abraham', and if that doesn't move ya, you're dead.
