Wales Millennium Centre, Cardiff
Wed 5 Oct
The Alvin Ailey dancers were back in Cardiff last week for the second time and boy, am I on the ticket list when they return for a third? Being a life-long fan of contemporary dance and ballet, I couldn’t wait to see the array of offerings from the world-renowned American dance theatre company.
From the moment the first dancer graced the stage, you could hear a pin drop. My young daughter and I were truly gripped. The way these guys moved was mesmerising – it was completely hypnotic to be part of this multi sensory experience. In all honesty the music and poetry was almost as trance inspiring as the irresistible dancers themselves.
The programme was split into four very different stories and opened with Rennie Harris’ Exodus, focussing on a spiritual journey of suffering and redemption but re-invented for a new generation. Familiar hip-hop styles were slowed down and bodies were contorted to represent yearning grief and a community suffering the infliction of pain. The robotic, almost monotonous rhythm of the music drew the audience in to the suffering, but as the pace quickened, so too did the choreography creating an optimistic hope for the future.
Next came Four Corners choreographed by Ronald K Brown. This was a style of modern and African dance that pulsed through your mind like a clockwork machine. The energy and connection between the dancers felt stunningly mechanical. It was as though they were perfectly oiled to give the audience a continued stream of storytelling.
Christopher Wheeldon’s After the Rain Pas De Deax was probably one of the most beautifully strong pieces of dance I have ever seen. The powerful chemistry between Akua Noni Parker and Jamar Roberts was breath-taking. I was on the edge of my seat, while Parker was on point supported by the brutal but transfixing strength of Roberts. They matched each other as sensual equals in dance in every single way.
And then came Revelations a unique part of dance history. The piece was originally choreographed by Ailey in 1960 but is still totally current today, and quite frankly the company’s pride and joy. The series of dances like Sinner Man and You May Run build up a rhythm of dynamic movement and sound until the momentum virtually explodes with gospel chorus in Rocka My Soul…
As the curtain fell to rapturous applause I felt like I’d been taken on a historic experience through slavery and oppression, to a place where hope beckoned. To feel joy even though it came from a tough place was fascinating. The standing ovation was well and truly deserved. As I looked across at my daughter dancing and clapping I knew we’d experienced something really special together.
words BETH MORRIS