PicksInSix Review: Alvin Ailey American Dance Theater - Auditorium Theatre
Powerful and Poised, Alvin Ailey Inspires!
Guest Contributor | Kaitlyn Linsner
I first experienced an Alvin Ailey American Dance Theater performance when I was a young dancer in my teens. I remember excitedly sitting in the theater eager to see a style of dance much different than the Irish dance I trained and performed in and then leaving the theater astounded. Now, many years later, I am realizing the lasting impact of first seeing Ailey because it manifested as the exact same giddy feeling on Wednesday night at the Auditorium Theatre for the opening of a five-day run as I waited for curtain to rise. I could not wait to see Ailey again.
The company’s opening night performance, named “Robert Battle’s 10th Anniversary Program,” highlighted works choreographed by Robert Battle. Battle became Artistic Director of Ailey in 2011 but had been a choreographer and artist-in-residence at Ailey since 1999.
Wednesday’s performance featured seven of Battle’s pieces ranging in tone and tempo. Woven together, the pieces showcased Battle’s flair for sharp syncopations, incredible composition and flirting with oddity. Set on such a talented Company, each number had deep nuance and a lingering hold on the audience.
“In/Side” and the excerpt from “Love Stories” stood out as the most memorable works. Dancer Yannick Lebrun performed “In/Side,” a bold and rather gut-wrenching solo, with deep vulnerability. The work is set to Nina Simone’s rendition of “Wild is the Wind” with dramatic lighting by Burke Wilmore. Lebrun shines with expressiveness and resounding control to command the stage while literally all alone and seemingly exploring the same through his body. Then the excerpt from “Love Stories” strikes a more exuberant tone toward the end of the program. The piece resulted from a collaboration between Judith Jamison, Rennie Harris and Battle set to music by Stevie Wonder. The ten dancers creatively grooved in brightly colored costumes. Being able to bear witness to their joy and remarkable execution brought so much life to the theater.
Ailey closed out the night with the beloved “Revelations” choreographed by Alvin Ailey and premiered in 1960. Sarah Daley-Perdomo and Jermaine Terry beautifully danced the powerful “Fix Me, Jesus” duet, and Vernard J. Gilmore gave a stunning and compelling performance of “I Wanna be Ready.”
Ailey remains a timeless legacy of incredible modern dance. I found myself grateful for the opportunity to share in its wonder, and left the theater, once again, inspired.
GUEST CONTRIBUTOR | KAITLYN LINSNER is a commercial litigation attorney in the Chicagoland area.
PHOTO|Dario Calmese
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