BWW Reviews: ALVIN AILEY Inspires Hope this Holiday Season at New York City Center

In a time when the very foundation of the African-American community has been rocked by police brutality and racism renewed with a vengeance, we need something to uplift and inspire us. This holiday season, that something is Alvin Ailey American Dance Theater's 45th annual residency at New York City Center.

The acclaimed Company's work, of course, speaks to all people. But with iconic works like Revelations firmly rooted in the African-American cultural experience, Ailey will always have a special significance for its black audience.

Through January 3, the Company performs a repertory of two-dozen ballets, featuring several premieres, new productions and Ailey-choreographed classics.

During a matinee engagement, the program we attended opened with Toccata, an Afro-jazz episode from 1960's Come and Get the Beauty of it Hot. Rows of energized dancers dressed in black pants and white tanks flaunted their athleticism to the music of Grammy-award winning composer Lalo Schifrin. Although this was a feel-good new production of the work created by Katherine Dunham Company dancer Talley Beatty, it still felt a bit dated.

By contrast, the next work, After the Rain Pas de Deux, was a sensual, modern ballet choreographed by Christopher Wheeldon for the New York City Ballet. Here, the male-female duet was re-imagined by sublime Ailey dancers Akua Noni Parker and Jamar Roberts. The dancers' connection was palpable and their moves seamless.

Choreographed by Aszure Barton and commissioned by artistic director Robert Battle for Ailey's 2013 season, Lift was the afternoon's third and most fascinating piece. The rhythmic, staccato movement of the dancers was bird-like and complimented by percussive music and attractive African textile-inspired costumes.

And lastly, no trip to an Alvin Ailey American Dance Theater performance would be complete without the aforementioned Revelations. We've seen it several times, and it never disappoints. Fortunately, the 1960 classic is peppered throughout the season's schedule, often refreshed with live music and vocals.

Inspired by Ailey's Baptist church upbringing and the work of writers James Baldwin and Langston Hughes, the suite is anchored by mournful and rousing Negro spirituals like "I Been 'Buked," "Wade in the Water," "Sinner Man," and the closing crowd favorite, "Rocka My Soul in the Bosom of Abraham." The latter scene showcases the Company's female dancers as chatty church ladies in sun yellow dresses and matching hats-greeting and gossiping with fervent waves of their fans.

While dance can't erase the obstacles we face as a nation, for a few hours it can remind us of our collective beauty, humanity and resilience. We have masters like Alvin Ailey to thank for that.

Photo by Paul Kolnik

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