RSS 2.0 FeedNovember 23, 2011, Cover Stories, Dance
Alvin Ailey astonishes and receives resounding praise
Alvin Ailey American Dance Theatre’s four-day, five-performance series was presented by Kansas City Friends of Alvin Ailey at the Kauffman Center for the Performing Arts. Friday’s program began with the newest work of the four, each one showcasing a different genre and strength of the company.
Well after the show was scheduled to begin Friday evening, attendees continued to file into their seats, nearly filling the Muriel Kauffman Theatre of the Kauffman Center for the Performing Arts as Alvin Ailey American Dance Theatre’s continued its four-day, five-performance series. Presented by the Kansas City Friends of Alvin Ailey, Friday’s program began with the newest work of the four and each one showcased a different genre and strength of the company.
Christopher L. Huggins’ Anointed incorporated a predominantly classical structure with an added layer of contemporary to the music of Moby and Sean Clements. Akua Noni Parker and Antonio Douthit created beautiful, sustained moments in the opening pas de deux. Huggins’ phrasing was uniquely pleasing although the couple’s partnering appeared slightly disjointed. With a touch of the hand, Parker urged Douthit to leave the stage and he walked into the light. Parker danced expressively in the middle segment, faring well with the jazzy, African movement set to conga drum beats. She and the remaining cast sustained their energy throughout the three sections but intermittently struggled to remain in unison.
In her solo The Evolution of a Secured Feminine, Ghrai DeVore delighted the audience with her musicality, over-exaggerated actions, and spunky attitude. Topped with a low-brim, mysterious hat, she perfectly depicted Camille A. Brown’s musical theatre choreography, connecting with and captivating the audience as she silently told her story. Carolyn Mechka Cherry’s costume design of suit pants and a top consisting of a half-blazer/half-bra illustrated the confidence of women.
Newly appointed Artistic Director Robert Battle showcased his astonishing work The Hunt as the third piece. The six men in peak physical condition, attacked the ritualistic piece. They mirrored the intense music by Les Tambours de Bronx as they aggressively hyped themselves up. Despite the men’s long, flowing skirts and the name of the selection, it was apparent that their actions could be comparable for any macho activity. The group slightly lacked full conformity which could have heightened the piece’s power, but even so, it was exhilarating and exhausting watching them.
Alvin Ailey’s most famous creation, Revelations, celebrated fifty years and headlined the evening’s program. The ballet was preceded by a short video featuring Ailey, who was often inspired by his spiritual, Southern childhood, telling the story of his work. The video also included snippets of Revelations being danced at different times over the past fifty years.
The first movement, “Pilgrim of Sorrow,” emphasized the act of contrition as a group of dancers powerfully moved in unison reaching to the heavens. Alicia Gradf Mack and Yannick Lebrun performed an emotionally and technically riveting duet that revealed the intimacy of asking for forgiveness. Graf Mack demonstrated breathtaking balance and magnificent lines while Lebrun acted as her steadfast pillar.
“Take Me to the Water” began with a procession of dancers, all in white, on their way to be cleansed of their sins. Ailey’s timeless modern choreography in this middle passage was strongly executed, especially during Kirven James Boyd’s speechless solo “I Wanna Be Ready” in which he initiated every action from the core of his body.
Onlookers witnessed a thrilling demonstration of three male dancers to the passionate lyrics of “Sinner Man.” The rest of the third section “Move, Members, Move” was a ground-shaking, praise-giving jubilation. “Rocka My Soul” brought the entire audience to its feet in a thundering applause as everyone rocked and clapped throughout the company’s encore. Revelations evoked the spirit in each person as everyone gave testament to the glorious celebration of life.
REVIEW:
Kansas City Friends of Alvin Ailey
Alvin Ailey American Dance Theater
November 16–19, 2011 (Reviewed Friday, November 18)
Muriel Kauffman Theatre, Kauffman Center for the Performing Arts
1601 Broadway, Kansas City, MO
For more information, visit http://www.kcfaa.org/
Top Photo: Alvin Ailey American Dance Theatre in Revelations (Photo by Paul Kolnik)
Dance Contributor
Laura Vernaci is a Kansas City native who has always been passionate about the arts, particularly dance. She began dance lessons at the young age of five and hasn't stopped since. She trained at the Kansas City Ballet where she became a serious dancer and learned about a professional company.
She attended Butler University in Indianapolis, IN where she majored in dance. She transferred to Truman State University in Kirksville, MO in 2006 and received a degree in Journalism in May 2008. Laura spent the 2008-2009 in Duluth, MN dancing professionally for the Minnesota Ballet. She performed in productions such as, "The Nutcracker," "Cinderella" and "Coppelia" as well as world premier ballets created on the company.
She recently moved back to Kansas City and is excited to combine her experience in writing with her passion for dance. In addition to performing and writing, Laura also enjoys teaching dance and choreographing.
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