The company, with its fine cadre of dancers, is short on charismatic figures that can pull off a piece such as I Wanna Be Ready.
By ORA BRAFMANdance review 88(photo credit: )
Alvin Ailey American Dance Theater
Program B
TAPAC
September 9
On its 50th anniversary, Alvin Ailey's company revisited Israel as part of its world tour and won the hearts of new crowds; they cheered and clapped long and hard.
Apparently, the magic charm of this veteran company still works - and no matter how many times it performs its signature piece Revelations (1960), the earth continues to rock under the audience's feet to the beat of those heart-wrenching gospel songs.
This unique piece, almost a sole survivor of the modern age, was crafted by Ailey, a central pillar in the Pantheon of American dance world.
Days after the performance the music echoes on, and you catch yourself humming "Didn't My Lord Deliver Daniel," "Sinner Man" and "Rock My Soul in the Bosom of Abraham," which make up the solid foundation that lifts and supports the relatively simple choreography.
The program included three more oldies: a rendition of Maurice Bejart's Firebird (1970) set to Stravinsky's "Firebird Suite," an intense work that didn't get what it deserved in the lead role; The Golden Section (1983), by the brilliant and prolific American choreographer Twyla Tharp, which supplied a deserving showcase for the brighter dancing of the company; and the male solo Reflections in D (1962), set to music by Duke Ellington and performed by Amos J. Mechanic Jr. - who failed to pull this outdated, ultra-emotional piece into the 21st century.
The company, with its fine cadre of dancers, is short on charismatic figures that can pull off a piece such as I Wanna Be Ready and expose its relevance.
Yes, the times, they are a-changing.
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