Alvin Ailey American Dance Theater
Where: City Center, New York City
When: November 28-December 31
What: Repertoire and “Firebird”
As surely as December brings “The Nutcracker” and Handel’s “Messiah” to the boards, the Alvin Ailey American Dance Theater performs for one month at City Center. The 30-member group, under the artistic direction of Judith Jamison and associate, Masazumi Chaya, has grown from its first performance in 1958 at the 92nd Street YMHA to one of the most popular companies world-wide having performed for an audience of 21 million over the years, with “Revelations,” it’s signature piece, having been seen by more people than any other work in dance.
This season, in addition to its repertory, the company performed “Firebird,” (1970) in French choreographer, Maurice Béjart’s version of the classic using the same music composed by Igor Stravinsky for his “The Firebird Suite.” Béjart’s works hold more than an impeccable ballet-based technique with “neo-expressionism” influences. He had an outspoken political and social stance, craftsmanship, courage and companies of exemplary artists.
Traditionally, “Firebird,” based on a Russian fairly tale, first performed by Diaghilev’s Ballets Russes in 1910, is about more than a bird with red feathers. After being spared from capture, the bird gives a talisman, a feather, to protect her (his) savior from harm when called upon with the feather signal. Interpreted as resistance and courage in overcoming adversities, the Béjart opening formation clearly indicated a war scene, with its first view of the dancers in dark clothes and strong, striking, resistant movements. But it all seemed to fly over the heads of the cast, who performed the exhausting movements without focus, understanding or inner persuasion. Perhaps the re-stager, Shonach Mirk Robles, didn’t have enough time to instill some of the deeper meanings of the work, or the two main characters, performed by Clifton Brown and alternates Matthew Rushing and Antonio Douthit thought relying on their physicality was enough. It wasn’t.
To learn more about “Firebird,” the management offered a pre-performance free-service cell phone call prior to the turn-off request before the curtain. It is not know if anyone called the bird for help.
Two young women in the company are emerging to artist level: Alicia J. Graf who studied at the Ballet Royale Academy, including the ABT summer intensive programs and is extraordinary. Another young dancer, Linda Celeste Sims began her study of dance at Ballet Hispanico and was graduated from the La Guardia High School for the Performing Arts.
The program continued in its entertainment style and dedicated the performance to Paul Szilard, the 95-year-old impresario-emeritus who guided this and other major dance companies to world-wide recognition. His autobiography, “Under My Wings” recounts his early life as a dancer and a break-through tour for the New York City Ballet to the Orient in the 1950s.
For more information on Ailey tours, contact www.ICMARTISTS. com For information on the Ailey School, fine arts degree program in dance, Ailey II and Ailey camps, contact: www.alvinailey.org.