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The Review - THEATRE
Published: 13 September 2007

Dance theatre’s claps of honour

ALVIN ALLEY AMERICAN DANCE THEATRE
Sadler’s Wells

HIS name is etched on a New York boulevard and is celebrated by dance fans throughout the world. But for a British audience there is little justification for the multiple curtain call – even if you are excellent.
Alvin Ailey’s choreography, which popularised modern dance through international tours sponsored by the US State Department during the 1960s, persists through his dance company under the watchful eye of his protégé Masazumi Chaya.
Up to 30 chiselled dancers reconstructed the exuberance and humour of one of Ailey’s trademark party landscapes for the opener, Night Creature.
Using music by Duke Ellington and contemporary ballet and salsa dance techniques, the playful jazzy duet Pas De Duke was executed with a slick sense of fun in the hands of Alicia J Graf and Clifton Brown.
Reminiscent of Pink Panther, the audience entered a world of elongated limbs, double-bass rhythms and impossible leaps.
Although the self-assured cutesy Disney character of Ailey’s choreography is a little irritating at times, his exploration of human physicality illuminates the dancers’ flexibility and allows the performers characters to shine.
And the best was saved till last.
Revelations is among the best known of Ailey’s dance performances.
Drawing from his African-American cultural heritage, he uses gospel and holy blues, feverish movements, stunning solo pieces and dynamic group work to express the hardship and hope of growing up in the Deep South.
As the lights went up and spectators tired of clapping, the performers were still demanding applause.
Prepare yourself for raw palms.
Until September 15
020 7863 8000

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