Ailey dancers know no limits

By Alison Young, On-line Forty-Niner

April 21,1998

 

Famous pioneer's graduates exhibit grace, understanding

 

From the time the lights went down on Saturday, Alvin Ailey's recent dance graduates demanded the audience's full attention, and not until it was over could the contemplation of the advanced use of music, dance and space begin.

 

Ailey's Repertory Ensemble, whose daring, sensual experience invaded the Carpenter Performing Arts Center for one night, performed four pieces, two of which were choreographed by the famed dance pioneer and company founder. "Escapades," from 1983, and "Reflections in D" both captured the essence of his innovative dance technique.

 

All 12 dancers displayed promising talent. The vibrant group seemed to know no limits.

 

The collective gracefulness, and understanding of their own bodies along with each other's, pushed the completed picture close to perfection.

 

The last two pieces were more contemporary in their use of music and dance technique. "Caught in Thermidor's Twilight" and "Marimba," both of which premiered in 1997, combined with the first two pieces in lending to the evening's diversity.

 

"Marimba," which began with 10 dancers running in slow motion, was performed to the hypnotic sounds of a pulsating, methodical xylophone.

 

The playful sounds of bells and chimes permeated the surroundings as the performers brought the dance up to speed.

 

The lighting in "Marimba" consisted of a bright white beam shining through a cut-out design in the ceiling, dispersing rays of white light down on the dancers.

 

The dancers performed most of "Marimba" hand-in-hand, signifying unity and inclusiveness.

 

"Escapades," the first piece, unfortunately started too abruptly, causing audience members to quickly find their seats. Vivid washes of pink and orange lit up the stage, as paired-off dancers displayed balance and evenness through physical strength.

---

Vivid washes of pink and orange lit up the stage ...

When all 10 dancers were on stage, each performing a different routine, the visual stimulation had an overwhelming effect.

 

The only opportunity to observe each dance in its entirety arose when the duets in "Escapades" were performed.

 

"Caught in Thermidor's Twilight," performed by Briana Reed and Fernando Carillo, had a mystical sense of evolution. In the first half of the piece, no dynamic connection between the two was evident. An androgynous feeling of indifference existed, which changed as the music developed from electronic dance beats to opera.

 

As the operatic music began, contact between the two increased. Togetherness, tenderness and discovery characterized "Caught in Thermidor's Twilight."

 

The only soloist of the performance, Carlos Dos Santos Jr., displayed an obvious talent in movement through the stretching of his body, from toes to fingers, in "Reflections in D," with music by Duke Ellington.

---