Dance St. Louis’ Ailey II Event Filled With Art, Rhythm and Passion

Dance St. Louis’ Ailey II Event Filled With Art, Rhythm and Passion

By CB Adams  

When Dance St. Louis presented Ailey II on March 1-2 at The Touhill Performing Arts Center, it did more than provide a stage for the second company of the Alvin Ailey American Dance Theater. It created an Event.

It is important to remember that Dance St. Louis is one of the country’s oldest, and one of only four, non-profit dance-only presenters – so presenting Ailey II is the type of dance concert you would expect from an organization with this type of mission. And the Ailey II performance alone would have been more than worth the price of a ticket.

Yet, the experience was augmented with the type of pre-show program that I wish were offered at all cultural events. Rather than dash from the parking lot to my seat, there is much to be said for easing into a more relaxed, inspiring, receptive state of mind. I enjoy walking looking at the art in The Sheldon’s galleries and listening to the short lecture before performances at Union Avenue Opera, for instance.

Dance St. Louis is known for its pre-show “Speaking of Dance.” For Ailey II, Dance St. Louis artistic director Michael Uthoff provided the Q and Francesca Harper, artistic director of Ailey II, responded with the A.

She provided entertaining, anecdote-laced stories about the company, which is marking its 50th anniversary this year as a vital link between student aspirations and professional realities. Under Harper’s leadership the company maintains its commitment to fostering emerging talent while demanding rigorous dedication.

Revelations. Photo by Nir Arieli

Adding to the festival feel of the Ailey II performance was a student art exhibit with interesting and impressive works by students from Grand Center Arts Academy and Central Visual & Performing Arts High School. As a visual artist myself, I enjoyed seeing what the new generation of creators can do. The level of confidence and skills of the young artists was enviable.

In the half hour or so before the Ailey II dancers took the stage, as if to prime the audience, The Phil Woodmore Singers, with 27 singers, filled the lobby with a sometimes thunderous performance of jazz, gospel and spirituals.

Now, that’s what I call an Event – engaging, thought-provoking, inspiring, all with a bunch of like-minded folks. I normally eschew commenting on audiences, but this one was noteworthy. Maybe it was the undiminished vitality of the Ailey “brand.”

Maybe it was the impressive list of supporting civic, cultural and faith organizations that were thanked before the performance. Or maybe it was the anticipation for full experience of the Event. Whatever the reason, if there were any empty seats, I didn’t see them at the March 2 performance.

The evening began with “Luminous” (2023), choregraphed by Harper and danced by the company. As she explained during the pre-show interview, “Luminous” explores the company’s rich five-decade journey and is inspired by the cherished memories of Ailey II’s esteemed alumni and their commitment to innovation and social advocacy.

The work fosters a communal spirit among the dancers reminiscent of Alvin Ailey’s ethos. Through intimate conversations with past luminaries like Matthew Rushing and Sylvia Waters, Harper crafted a narrative that resonates with the current generation, enriching their understanding of the company’s legacy.

Championing Ailey II’s archival efforts, Harper underscores the importance of documenting Black narratives in dance history. “Luminous” beautifully honors its past and propels the company forward with continued excellence and opportunities for emerging talent.

Maya Finman-Parker in Judith Jamison’s “Divining.” Photo by Nir Arieli.

Next was choreographer Judith Jamison’s “Divining” (excerpt), spellbindingly danced by Maggy van den Heuvel. Her interpretation beautifully captured the essence of sky, flight, bow and ripple – all set against a backdrop of diverse rhythms from North African, Central African and Latin influences, “Divining” pulsated with a vibrant energy that was captivating and evocative.

Van den Heuvel’s commanding presence on stage and her flawless execution of Jamison’s choreography showcased her exceptional talent and brought a fresh perspective to this piece with its mysterious undertones suggesting a quest or search.

Also from 2023 was “John 4:20” with choreography by Baye & Asa, a company creating movement art projects directed by Amadi “Baye” Washington & Sam “Asa” Pratt. “John 4:20” is an interpretation of that passage from the Bible.

In this performance, the dance piece traditional boundaries to explore themes of shared history and divergent identities. Six dancers masterfully blended elements of hip hop, African, and contemporary modern styles, crafting a choreographic narrative that pulsed with intensity and intimacy.

Through a series of duets and group interactions, the dancers navigated the spectrum of human emotion, from the bustling streets to the intimate playground, deftly confronting the realities of violence while emphasizing the transformative potential of empathy.

“John 4:20” was perhaps my favorite piece of the evening, if only because it was new to me and so deftly performed with such athleticism and precision, engaging me with a visceral journey through love, hate, resilience and vulnerability.

Revelations. Photo by Nir Arieli.

Concluding the performance was Alvin Ailey’s “Revelations” (1960), the most iconic piece of the evening. Ailey II’s rendition of “Revelations” continues to solidify its historical significance, marking 60 years of continuous – and well deserved –  performance. As one of the most renowned American concert dances of all time, the dancers of Ailey II provided a performance that resonated deeply, its images and choreography leaving an indelible impression.

“Revelations” is more than just a dance; it’s a tapestry of voices, echoing the emotions and motivations of African American religious music. Langston Hughes aptly described it as an exploration of these rich traditions. Rooted in the rituals of Black South culture, the work serves as a cultural-political touchstone, offering a sense of shared history and collective identity.

As with other performances of “Revelations” I have attended over the years, dating all the way back to my college days, this one also felt like a spiritual experience, sweeping me up in the music and movement that affirmed the distinctiveness of its cultural expressions.

From the soulful rendition of “Fix Me, Jesus” by Maya Finman-Palmer and Corinth Moulterie to the electrifying energy of “Sinner Man” performed by Xhosa Scott, Moulterie and Alfred L. Jordan II, the dancers breathed renewed life into Ailey’s masterpiece.

“Revelations” ends with the song “Rocka My Soul In the Bosom of Abraham,” which always brings a pleasant childhood memory to light for me. The full company was on stage for this piece, and they left me (and the rest of the audience) with a feeling akin to going to church, where the spirit of the dance uplifts and inspires all who witness it. Ailey II’s performance did this classic – and all the rest of the pieces – proud.

Comprising a dozen dancers on two-year terms, Ailey II’s schedule of classes, rehearsals, and extensive tours offers a challenging immersion into the world of professional dance. Stemming from Alvin Ailey’s vision of a training ground for young artists, Ailey II continues its educational mission while serving as a breeding ground for future main company members.

Despite enduring hardships and tragedies over the years, Ailey II remains a cornerstone of the dance community, evidenced by its ongoing 50th-anniversary tour.

As the company celebrates this milestone, its enduring legacy underscores the transformative power of dance and the resilience of artistic dedication, and Dance St. Louis deserves thanks for bring it to town, along with all the pre-show festivities. Dance St. Louis presented Ailey II on March 1-2 at The Touhill Performing Arts Center.

Francesca Harper’s Luminous. Photo by Nir Arieli.

Complexions Contemporary Ballet’s Toe Shoes and Kinky Boots

Complexions Contemporary Ballet’s Toe Shoes and Kinky Boots

By C.B. Adams
While waiting for the curtain to rise on Dance St. Louis’ 57th-season opener on Friday, Nov. 4, I Googled whether David Bowie had ever opined about dance. I was interested because this evening’s performance at the Touhill Performing Arts Center was “Stardust: From Bach to Bowie” by the NYC-based Complexions Contemporary Ballet.

And sure enough, the Google gods provided something Bowie once tossed out to Conan O’Brien: “I don’t know how many times someone has come up to me and said, ‘Hey, Let’s dance!’ I hate dancing. God, it’s stupid.”

That’s a funny, quotable line, and one that I’m sure he didn’t really mean. It’s hard to imagine a rock icon whose recommended reading list ranged from Camille Paglia’s “Sexual Personae: Art And Decadence From Nefertiti To Emily Dickinson” to “A Clockwork Orange” by Anthony Burgess and from “Passing” by Nella Larson to Julian Jaynes’ “The Origin Of Consciousness In The Breakdown Of The Bicameral Mind” would have really found dance at Complexion’s high level stupid.

Bowie was no dancer, but his innovative, chameleon-like stage presence revealed a theatricality and an understanding of rhythm, movement, lighting, clothing and presentation. His personas, from glam to glum, revealed an awareness of a certain sort of dance language, much like David Byrne of the Talking Heads (think of the way he moved in that Big Suit, or more recently, his “American Utopia” dance-adjacent performance). If dance (classical ballet to contemporary) works in sentences and paragraphs, then Bowie worked in specific words. In this regard, think Michael Jackson and that single, sequined raised glove.

All of this highlights the successful blending of Bowie and ballet achieved by Complexions’ co-founder and choreographer Dwight Rhoden in the piece “Stardust.” In a recent interview with the “Los Angeles Times” about “Stardust,” Rhoden says, “…there’s a little Bowie in all of us… There’s so much imagery in the lyrics, there’s so many personas and characters and colors to his personality that it just lends itself to a performance of some kind.”

Complexions is masterful at this type of pop culture and contemporary dance mash-ups that have included the music of Marvin Gaye, Lenny Kravitz and Metallica. Beyond the novelty of these collaborations, it’s the versatility, athleticism and adeptness of the company that elevates the approach from performance to art while incorporating a wide range of elements from hip-hop to modern and classical ballet.

“Stardust” consists of nine Bowie songs, each with its own choreography and each lip synced by one or more of the dancers. The sequence begins with “Lazarus,” a song from Bowie’s last studio album (“Blackstar”) and his last single released before his death. This is followed by a “best of” sequence of songs spanning Bowie’s career, including “Changes,” “Modern Love” and “Young Americans.”

Each of the dancers had their own Bowie identity that drew from his iconic array of hairstyles, face paints and costumes. It was a nice reminder of how innovative the gender- and genre-bending Bowie was, especially in his glam-rock era. With no sets and minimal staging (and spot-on lighting by Michael Korsch), the emphasis was clearly on the choreography and execution by the dancers.

The program lists the dancers only as “The Company,” so instead of individual names, it’s best to refer to songs. Collectively, The Company is an exceptionally – and exceptionally equally talented – group of dancers that delivered an impressive range of strength, intensity, athleticism, expressiveness and technical prowess.

Of the nine choreographies, one of the standouts was certainly “Space Oddity,” during which the lead dancer confidently strode across the stage on pointe, then held a very Bowie-esque position for an extended, intense moment. Another standout was “Heroes,” danced to Peter Gabriel’s slow, extended cover of the song from his “Scratch My Back” album. Fans of Netflix’s “Stranger Things” might recognize this version of the song, which benefits from the slow treatment, reminiscent of Michael Andrews’ “Donnie Darko” soundtrack cover of Tears for Fears’ “Mad World.” The Company’s ensemble work on “Heroes” was exceptionally fluid and evocative.

The weakest of the series was “1984.” The choreography was not as interpretive, robust or visually interesting as the others. The dancer, clad in a leotard that was more Mary Lou Retton than Thin White Duke, wasn’t given movements as challenging or wowie “Zowie” as the others.

Complexions Contemporary Ballet

“Stardust” may have attracted the most attention, but it comprised only the second half of the Complexion’s program. The evening began with “Hissy Fits” after a rousing, pre-show “Happy Birthday” to Michael Uthoff, Dance St. Louis’ Artistic Director. “Hissy Fits” applies a frenetic, slinky, edgy choreography to some traditional melodies of J.S. Bach (heavy on the Glenn Gould interpretations).

Perhaps because “Hissy Fits” was more finely integrated from one Bach piece to the next, rather than discrete Bowie songs, it felt stronger and more “of a piece.” It was tempting to take it more seriously. Not better, per se, but certainly different. It was a strong piece and good choice to introduce the Complexions company.

As “Hissy Fits” opened with a fogged stage and the dancers beautifully illuminated (Michael Korsch’s lighting design for the entire show as stellar). Clad in nude-colored shorts and leotards, the dancers were statuesque in contrast to the lively, sinuous, complicated choreography that lived up to its name. “Hissy Fits” was more lyrical than “Stardust” and it is tempting to describe it as more balletic and classical, but not at the expense of its contemporary street dance elements. It’s a complicated piece about complicated feelings of frustration, bordering on hysteria.

The performance ended with a long-lasting, well-deserved standing ovation. As Bowie once observed, “Gentleness clears the soul, love cleans the mind and makes it free.” Gentleness, love and freedom shone through the dancers and the passionate choreography linked the two halves of the soulful program.