By Christian Viveros-Fauné
By Miriam Felton-Dansky
By Tom Sellar
By Tom Sellar
By Jessica Dawson
By Tom Sellar
By R. C. Baker
By Tom Sellar
Every time I see Alvin Aileys beloved Revelations, and the music for Wade in the Water begins, I remember Judith Jamison performing that soul-lifting sequence. This isnt fair to whatever current company member is doing it, I know, but I cant help it. Jamison wasnt part of the original cast of the 1960 masterwork, but she emblazoned her image onto the role. When she rushed onto the stage, her long white dress and the fabric over her white umbrella blowing with the force of her passage, your heart lifted. Once the singing began, her power, musicality, and radiance enriched Aileys simple, fluid, treading steps; the way she reached deep to scoop up handfuls of invisible water could have cleansed the world.
Who could have foreseen back in the 1970s or 1980s that this gorgeous woman would build Aileys already successful repertory company into a widely traveled institution whose handsome building contains a thriving school, as well as a theater thats available to performing groups around town? What other modern dance company can fill City Center on a Wednesday night? In 2008, AAADC began a year of celebrations in honor of its 50th anniversary. Its current City Center season rightly celebrates Jamisons 20 years as artistic director by commissioning four world premieres (by Ronald K. Brown, Robert Battle, Jamison herself, and Matthew Rushing), along with presenting a slew of revivals, special events, and six performances that include a Best of 20 Years sampler.
Rushing, one of the companys most profound dancers, is relatively new to choreography; in 2005, he collaborated with two AAADC colleagues, Hope Boykin and Abdur- Rahim Jackson, to create Acceptance in Surrender. Its a mark of Jamisons combined savviness and daring that she gave him the go-ahead to choreograph a work as ambitious as his new Uptown. Rushing repaid her trust by researching not only the social life and dances that figured in the Harlem Renaissance before he fleshed out his idea, but some of its thinkers, writers, and painters. Uptown is entertaining and smartly conceived, with only a few glitches. Admirably, Rushing refrains from exploiting the dancers conventional virtuosity in order to convey the looser, dug-in, rough-edged dances of the 1920s and 1930s, such as the Big Apple, the Shim-Sham, and the Lindy.
The curtain opens on a spotlit Victrola, its golden horn sending out the glorious bass voice of Paul Robeson singing No More Auction Block for Me, while a slide show refers to slavery, the Civil War, the Harlem scene, and African American notables of the period. Rushing was wise to provide a host-narrator, Victor, to lead us through Uptowns eight scenes (text by Rushing and Gregor L. Gibson) and to cast the terrific dancer Amos J. Machanic Jr. in the role. Whether wearing tails or a white suit like Cab Calloway, Machanic cajoles us into Harlems high life like a born oratorsly with his body language and happy to join the dance at times.
The opening, Welcome to Harlem, set to original music by Ted Rosenthal, unfurls as a brightly organized street scene of strutting men, rowdy kids, a cop, and bunches of a-bit-too-stereotypical sassy, gossiping women in their Sunday best (costumes partly assembled by Rushing with design input from Jon Taylor and Dante Baylor). Next, Machanic conducts us to a rent party thats choreographed to convey an engaging semblance of spontaneity and easy-going fun. Stuffed into one corner of the stage, the performers chat and flirt, while Khilea Douglass takes on one guy after another for some athletic Lindy moves to the Beale Street Bands recording of Fats Wallers The Joint Is Jumpin.
One of the most crackling sequences is one in which five sterling Ailey men (Marcus Jarrell Willis, Antonio Douthit, Clifton Brown, Kirven James Boyd, and Jackson) begin posed like the figures in the projected slide of a painting by Archibald J. Motley Jr. (1891-1981) and explode from there into some snappy, tautly organized moveswith one of them wielding a real guitar in synch with Hit That Jive Jack.
The weakest element of Uptown is Rushings take on the Savoy Ballroom in Divas, Apples, and Jazz. Not that it isnt fun to watch the outrageously costumed Linda Celeste Sims, Rosalyn Deshauteurs (!), and Tina Monica Williams unite to vamp us and dance alone to depict, respectively, Florence Mills, Josephine Baker, and Ethel Waters. Its just that theyre isolated in their red-curtain-draped, colorfully lit world (décor and lighting by Al Crawford). We could be anywhere. No socialites cheer for them, no experts take over the dance floor to compete. Maybe the others dancers are changing into the uniform beige-and-white outfits that make them look like members of a teenage club when they circle around in the lively Big Apple.
Rushing also inserts a small, happy-ending backstage drama. In Shuffle Along, Sims auditions for a show by lip-synching snazzily to a 1920s recording of Eubie Blake and Noble Sissles Im Just Wild About Harry. The director (Machanic) is instantly wild about her. The costume designer (Boykin) bustles around, andpresto!the talented girls blue overcoat is gone, and shes a gold-clad star, backed by an equally gleaming, leggy chorus.