[Woody’s [rating: 4.5]
Alvin Ailey American Dance Theater members recreate “Revelations.” Photo by Christopher Duggan.
- Seven males in Alvin Ailey American Dance Theater execute “Uprising.” Photo by Paul Kolnik.
- Alvin Ailey American Dance Theater members do “Suspended Women.” Photo by Paul Kolnik.
I first saw Alvin Ailey’s choreography when I lived in New York City in 1960.
That was two years after he’d founded his troupe, one year after I’d returned from post-undergrad stints in Mexico and Hollywood — a time for both of us to be experimenting with innovation.
I embarked on a lifelong career as a journalist. He pursued his dream of coupling traditional African-American culture with modern dance.
And he drew upon his memories of his Baptist church upbringing in Texas, integrating traditional spirituals, gospel and blues in his legendary work, “Revelations.”
Now, 55 years later, the Alvin Ailey American Dance Theater’s still performing that ballet, still celebrating spiritual exuberance.
When I saw the Cal Performances offering at Zellerbach Hall the other night, it was as captivating, as viscerally exciting as ever.
Maybe more so.
I couldn’t help notice it’s aged without a wrinkle.
Two other reprises were equally compelling — the percussive “Uprising,” by Israeli-born Hofesh Shechter and Vex’d, performed with surging testosterone by seven male dancers, and “After the Rain,” a pas de deux by Christopher Wheeldon that gracefully enhances music by Arvo Pärt.
“Suspended Women” by Jacqulyn Buglisi, danced to music by Ravel, seemed flimsy by comparison with the others — almost like watching 14 ballerinas twirling atop a music box.
“Uprising” was intensity incarnate.
It featured mock wrestling, macho slapping and punching, with guys appearing and disappearing into a shadowy mist.
Riveting.
I found it impossible to look away.
But “Revelations” was the most fun to watch.
The “Wade in the Water” sequence was exceptionally eye-catching, with all its costuming and props white except for one blue sheet-like material that seamlessly simulated waves.
Most rousing were the portions devoted to the familiar — “Sinner Man” and “Rocka My Soul in the Bosom of Abraham.”
The traveling troupe’s performances run only through April 26. But if you can make it, do.
In my book, it’s the best dance troupe extant.
A few folks must agree.
The multi-racial New York City-based company has performed before 25 million people in 48 states, 71 countries and on six continents.
Ailey created 79 ballets for the troupe but long wanted it to include works of others.
It has.
More than 235 pieces by more than 90 choreographers now help constitute a repertoire for the company, which after Ailey’s death in 1989 was helmed first by Judith Jamison and now Robert Battle.
Both would have made him proud.
Upcoming Cal Performances dance dates include “Cinderella,” by the Marlinsky Ballet and Orchestra, Oct. 1-4; and Twyla Tharp’s 50th anniversary tour, Oct. 16-18. Information: www.calperfs.berkeley.edu/ or (510) 642-9988.
Contact Woody Weingarten at voodee@sbcglobal.net or at www.vitalitypress.com/
