Alvin Ailey American Dance Theater ignites a passion and devotion in audiences wherever it goes. London was in thrall throughout the ‘Legacy’ programme, the second on offer during a worldwide tour, in a way one rarely sees at consecutive performances. The audience was on its feet and dancing in the aisles, whooping with delight and feeling the strength and commitment that this wonderful company exudes.
Opening with Ailey’s 1974 Night Creatures (excerpts), to the music of Duke Ellington, there was a feel good factor that was all-consuming from the moment it began. We knew we were about to have an absolute ball. In Night Creatures it’s all about the pelvis and AAADT certainly know a thing or two about hip mobility. The dancers embody the rhythm, sinuously sliding from one suggestive move to the next.
Led by Sarah Daley-Perdomo and Soloman Dumas in Movement II and Daley-Perdomo and James Gilmer in Movement III, it set us up for wanting more of the same. In between the slinking, were series of quick classical enchaînements, beats and assemblés, which in turn melted into deep arabesque penchés – a lesson in how to make a penché look really sexy. These guys can do anything.
I have been watching, in total admiration, the career of Yannick Lebrun since he joined the company. He delivered A Song For You (an excerpt from Ailey’s 1972 Love Songs) as if it was a personal homage to Ailey himself. Such beauty of line, sincerity in every breath, supreme control and a presence that transcends even the most expressive of dancers. And then an equally transfixing excerpt from Cry, a present for Ailey’s mother, “to all Black women everywhere – especially our mothers”. Constance Stamatiou was majestic, with her swirling white dress and her emancipated upper body movement. Complete joy.
After the first interval it was time to soak up Ronald K. Brown’s Grace, a work I have been looking forward to seeing live for years. Created in 1999, it was given a revamp in 2024. Choreographically, it is masterful. It somehow echoes all of Ailey’s beliefs in his dancers. A single woman dressed in white begins, supposedly depicting an individual on a journey to the promised land. Whatever that journey might be, it is open to interpretation. And for me it was a musical journey, Ellington, Peven Everett and Fela Kuti with the dancers fuelled by that rhythm and pace. It is an extraordinary piece with a sense of urgency – dynamically, breathtakingly danced.
The evening concluded with Ailey’s Revelations. It’s hard to believe that Ailey created this piece in 1960 and although it is occasionally left off a programme, it is mostly so much part of the company’s history that it rounds off a tradition. It is one of the most joyous celebrations of music and dance we can see. At the heart of it, and I believe one of the reasons it endures, is that it connects so deeply with the joy of gospel music. Every scene is a dramatic picture – whether it’s the stark shapes of the arms and hands in I Been ‘Buked or the rippling, rolling effect of Wade in the Water.
Lebrun and Caroline T. Dartey were extraordinarily connected in Fix Me, Jesus and Xavier Mack was nothing short of stunning in I Wanna Be Ready. The song that gets me every time is Sinner Man, this time danced with brilliance by Jesse Obremski, Sebastian Garcia and Mason Evans. The speed, the technique with which this is always delivered, leaves the audience open mouthed.
And then there’s the grand finale, with fans fluttering, women gossiping and the men just rhythmically marching through what must always be a memorable ending. Rocka My Soul in the Bosom of Abraham sent the audience into raptures.
AAADT is at the start of an exciting chapter under the new directorship of Alicia Graf Mack (also fondly remembered as an incredible dancer of the company) and I’m sure she will take it to even greater, exhilarating heights.
