Now That's Really Dancing

MODERN DANCE companies are interesting because they need not stick to any formal rules or balletic norms; they have free reign with creativity. Sometimes this freedom simply leads to failure in overly amorphous, experimental works. The Alvin Ailey American Dance Theater, one of the country's leading modern dance companies, reaches modern dance companies, reaches the ultimate balance between these two extremes of stifling fidelity to convention and unrestrained experimentation. Their pieces reflect an incredible combination of ballet structures and modern dance innovation, exhilaration and subdued strength. Wednesday night's performance displayed all the finest aspect of this unique ensemble.

They opened the night with a fun dance called "Concerto inF." choreographed by Billy Wilson with music by George Gershwin. Though music by George Gershwin. Thoush somewhat reminiscent of the dance seenes in West Side Story. "Concerto in F" merges the abstract with the thematic. It captures the feeling of deadly confrontation, speed, flight and emergency. Pairs, trios and groups run on and off stage turning and leaping with immaculate sharpness.

The piece began slowly: a couple dances alone, six join them and then six more arrive. Suddenly the women are flying through the air in a whirlwind of purple and violet. As the tension builds the entire group in unison begins to wriggle, writhe and shake. Then in a mutlisecond switch they are standing stiff as boards. These fast movements continue--appearing like a video set at high speed--until one can not absorb any more. Then the choreography slows down, even as Gerhwin's concerto continues to roll.

As the music relaxes to a jazzy trumpet solo, two dancers stretch and connect their limbs on the floor. It is an exercise in absolute body control. Soon a flirtations woman appears pursued by two suitors. A mime progresses, parodying his coquettish affair. But at all times the dance if self remains of primary emphasis: ne's attention is drawn first to the breathtaking technique, then to the drama.

But his respire is only temporary. Suddenly, the fast-paced music takes over-and the figure writhe into a fascinating hysteria. The clumps of dancers demand total attention as they separate and then rejoin--all White kicking their legs and making their hands vibrate in the air. Just as chaos seems to hover in a split-second the music stops.

THE ONLY PROBLEM in this electrifying piece is timing: a few groups of dancers could not synchronize their arm movements and steps. Otherwise, "Concerto in F" is quite overwhelming.

The next work, "Divining", had its Boston premiere Wednesday night. Judith Jamison, a former Ailey dancer, choreographed this magnetic piece to music by Kimati Dimizulu and Monti Ellison. The music alternated between loud, whisting melodies and constant drum rhythms. The starkness of the beating drum focused all attention on the dancer's movements. In contrast to the first piece. Divining" was a study of movement that is nonetheless just as captivating.

Three women in yellow dance against an aqua blue set. The strength in their arms legs and head is displayed at every moment. As the drum pounds, they roll, kick and stretch out their powerful arms. Two men join them and a wailing, almost painful melody takes over. The dancers' agonizing movements mimic the music.

All parts of the body are considered in this mesh of movements. The women even use their long hair to heighten the effort of throwing, their torsos over and to straightening up. Against these curves and contractions, Donna Wood appears for a solo. She is one of Ailey's most famous dancxers; her towering height and incredible talent create a magical aura around her. She is able and to turn leap while keeping her body as straight as a spear. Her arms seem to out the air with their sharpness.

Before her hypnosis dance ends 15 more dancers join her. Against sets of changing colors--hot pink to floaresent green to bright orange--three groups of dancers move to the rapid beating. Each group does rib, hip and arm isolations in sequence. They continue to dance in cycles--spending to the floor contracting, relaxing and leaping. Regardless of the speed of the steps, the dancers are always synchronized. The rich, full impressions on colors and rapid-fire movements are absolutely stunning.

IT IS HARD to believe that the next piece could surpass the previous ones, but Ailey's works always exceed expectations. The last dance was "Revelation." his most popular work. The suite "explores motivations and emotions of Afro-American religions music" including gospel songs, spirituals, song-sermons and blues.

Words cannot do justice to this multimedia experience. In color, songs and dance in evokes a rollercoaster of emotions. "Revelations" begins with sorrowful songs like, "FIX Me Jesus" and "Didn't My Believer Daniel." The slow, almost painful pieces break into a scene around a river. "Take Me to the Water" women a white gowns and men in their finery dance as the river rises. They sway, push and pull and upon there is no doubt that the river is rising. Donna Wood. holding a parasol way above the water, sends shivers up one's spine as she moves.

This Southern scene crashes into a joyous celebration of gospel music. Three men in black run in different directions onto the stage against a flourescent red set. This section was undoubtedly one of the highest points of the entire performance. Each man's technique was perfect--they appeared to pose at the top of their jumps, and to complete remarkably difficult sequences of steps. Their speed was unmatched.

However, the real apex of the night was certainly his last scene to "Rocka My Soul in the Bostom of Abraham." The entire company creates a feverish excitement as the music builds on the picture of mesmerizing dancers. Yellow skirts fly and bodies sway to this extraordinarily contagious music. The entire company danced in this piece that displayed amazing talent as well as a genuines excitement.

The company received a standing ovation and after five minutes proceeded to give an encore repeating the last dance. The audience began clapping to the music, humming the tunes; needless to say this is not a common sight at dance performances. The Alvin Ailey American Dance Theater has reached a new level in this art' they have combined old and new forms, ballet technique and modern jazz with an ability to evoke intense levels of sincere emotion. Wednesday night's performance was a real treat.

This Southern scene crashes into a joyous celebration of gospel music. Three men in black run in different directions onto the stage against a flourescent red set. This section was undoubtedly one of the highest points of the entire performance. Each man's technique was perfect--they appeared to pose at the top of their jumps, and to complete remarkably difficult sequences of steps. Their speed was unmatched.

However, the real apex of the night was certainly his last scene to "Rocka My Soul in the Bostom of Abraham." The entire company creates a feverish excitement as the music builds on the picture of mesmerizing dancers. Yellow skirts fly and bodies sway to this extraordinarily contagious music. The entire company danced in this piece that displayed amazing talent as well as a genuines excitement.

The company received a standing ovation and after five minutes proceeded to give an encore repeating the last dance. The audience began clapping to the music, humming the tunes; needless to say this is not a common sight at dance performances. The Alvin Ailey American Dance Theater has reached a new level in this art' they have combined old and new forms, ballet technique and modern jazz with an ability to evoke intense levels of sincere emotion. Wednesday night's performance was a real treat.