Love Stories Full of Snap

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The New York Sun

The Alvin Ailey American Dance Theater kicked off its City Center season with a gala evening that included one premiere, “Love Stories,” and the company’s signature masterwork, “Revelations.”


“Love Stories,” which artistic director Judith Jamison choreographed with Robert Battle and Rennie Harris, was full of snap. Each of the three choreographers was responsible for one section of the work, which was set to not-too-familiar songs by Stevie Wonder. Drawing from hip-hop, Caribbean, West African, modern dance, and Philly bop, the three choreographers related the work to the history of the company.


Ms. Jamison’s segment, which began the piece, is designed to suggest the work and play in a dance studio. Clifton Brown enters the stage and wiggles around as if warming up. He launches into a smooth, flowing solo that has drama, but also the calm feeling of a dancer moving freely and creatively on a whim. Had he danced it with fewer facial expressions, it would have been better.


More dancers in workout gear join him for a cheerful dance-off between couples, with each pair trying to best each other and the group cheering on. Ms. Jamison has crafted a sense of togetherness, fun, and encouragement here. It served as a reminder that though this company is today hailed all over the world and will soon move into a flashy new building, it was once a tiny startup with stage sets transported in dancers’ cars.


The work then segues into a lively hip-hop sequence created by Rennie Harris. Wearing colorful, trendy gear and sneakers, the dancers pop and contract to the music with charisma that makes you want to get up, too. This is a riff on current popular dance moves, but contains sophisticated patterns. The choreography allows you to see the connection between African dance and, say, those rump-shaking full-body trembles that only individuals with very little body fat can do well. (Atkins diet or no, do not try this at home.)


The final portion of “Love Stories,” by Robert Battle, starts out slowly, with Matthew Rushing in a beam of light, moving with deliberate strokes that suggest he is in emotional pain. He bent down with his hand wrapped behind his legs, and later stood firm with his arms reach out, as if for hope. But the dancing flowed into a lighter, brighter period that looked like the “Rich Man’s Frug” from “Sweet Charity” crossed with “Revelations.” The dancers arrange themselves in straight lines in movements that call for elegant, sexy hand gestures but also jumping straight in the air with bent knees and a quick rebound.


What’s fun here is the variety across the work. But “Love Stories” is better as three parts than as a whole. More seriously, the notion that this piece is about the company’s history is too thin. Only the first portion conveys the past clearly. The others register more as evolutions of dance forms. They are enjoyable on their own – not as history lessons.


The evening’s program concluded with Ailey’s 1960 masterpiece “Revelations,” performed with live musicians and singers. In such a familiar and oftperformed work, the joys are in the small details of interpretation. Linda-Denise Fisher-Harrell gave a particularly beautiful performance of “Fix Me Jesus.” The extreme extensions of her leg were crowd pleasers, but her graceful, luscious backbends will stick in the memory. Whether falling into Glenn Allen Sims’s arms or being held aloft by him, she was simply marvelous.


Bravo to Abdur-Rahim Jackson for his out-of-control craziness at the end of “Wade in the Water.” He shook and pulsated so hard that a strip of fabric from the prop fell loose. Of a more controlled manner was the senior statesman of the group Dudley Williams, who joined the company in 1964. During the church portion, Mr. Williams moved less than the other male dancers. But truly less was more. His elegant partnering of Renee Robinson made him a debonair gent. And his utter delight with dance was so visible it was a joy to see.


Whether this company is dancing new or old works, it is so brimming with talent it is a must-see. And we have a full five weeks to do so.


The New York Sun

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