Review: The Dance Theatre of Harlem Blissfully Entertains Audiences at The Broad Stage

Arthur Mitchell is known around the world not only for being the first male African American to become a permanent member of a major ballet company when he joined New York City Ballet in 1955, but for creating and sustaining the Dance Theatre of Harlem, the internationally acclaimed ballet company he co-founded with Karel Shook in 1969 during the Civil Rights era. It was a revolutionary company when it was founded almost 50 years ago with the New York Times explaining, "With the creation of Dance Theatre of Harlem, black ballet dancers finally had a home, and a perception of what a classical ballerina could do and look like began to change." dancers." While its initial goal was to empower black youth, Dance Theatre of Harlem has gone on to become a multi-racial, multi-cultural organization reflecting the audiences which flock to see them as the tour around the world.

I was lucky enough to be one of the lucky ones to be in the Broad Stage audience recently when this extraordinary dance troupe invited Los Angeles audiences, for the first time in way too many years, to join in with them in experiencing the wonders of neo-classical and contemporary ballet that is both of the moment and timeless. The evening's 105-minute program consisted of Brahms Variations, choreographed by Robert Garland (2016), Dancing on the Front Porch of Heaven, choreographed by Ulysses Dove (1993) and Vessels, choreographed by Darrell Grand Moultrie (2014), each more enchanting than the last!

The inspiration for the ballet, Brahms Variations, by resident choreographer Robert Garland, is Louis XIV, French Patron of the Arts, and Grandfather of the ballet canon. Arthur Mitchell was a big persona in Garland's life, a Harlem version of the French Monarch. So, the ballet is, in part, Louis the XIV's court meeting Harlem Swag. With light and lively choreography by Robert Garland and artistically floating costumes resembling the loveliest of yellow Spring flowers by Pamela Allen-Cummings set against a deep blue background lit by Roma Flowers, it was easy to be transported into a world where dreams become reality and people of all nationalities work together to live, not only dance, in peace and great happiness.

The five pairs of dancers, led by the graceful Crystal Serrano and athletic Da'Von Doane, included Alicia Mae Holloway, Yinet Fernandez, Amanda Smith, Ingrid Silva, Anthony Santos, Christopher McDaniel, Donald Nguyen Davison, and Choong Hoon Lee; with each pair having a chance to shine in the spotlight, showcasing their own individual and artistically beautiful movement skills. While at times the dancing groups seemed to be slightly out-of-sync with their movements, this entertaining, light and lively first act was a fun way to open the evening.

Subtitled "Odes to Love and Loss," Dancing on the Front Porch of Heaven was choreographed for the Royal Swedish Ballet in 1993 during a challenging period in Ulysses Dove's life. Having lost 13 close friends and relatives, among them his father, Dove himself explained, "I want to tell an experience in movement, a story without words, and create a poetic monument over people I loved." Set to Estonian composer Arvo Pärt's Cantus in Memory of Benjamin Britten, Dove's spare but demanding choreography invites dancer and viewer alike to live in each moment as if it were the last.

Staged by Anne Dabrowski, the six dancers (Lindsey Croop, Alison Stroming, Alicia Mae Holloway, Dylan Santos, Jorge Andres Villarini, Anthony Santos) costumed in form-sitting white body suits designed by Jorge Gallardo set against a stark black curtain, made it was easy to imagine watching ghostly spirits waiting to enter heaven, weaving among themselves and pairing off as if celebrating the joy of life until the very end. I especially enjoyed a segment during which two men wove their bodies together in the most fascinating example of how dance is a universal art form. But the most amazing moments for me were the many deep pliés done on pointe in second position, a true embodiment of the athletic ability of each dancer able to achieve and hold this gravity-defying pose.

Darrell Grand Moultrie's Vessels ended the evening with a dynamic tour de force, drawing on the energy and artistry of a new generation of Dance Theatre of Harlem artists. With choreography by Darrell Grand Moultrie to the music of Ezio Bosso, the dancers, led by Crystal Serrano, Alison Stroming and Ingrid Silva, included Stephanie Rae Williams, Amanda Smith, Jorge Andrés Villarini, Da'Von Soane, Dylan Santos, Donald Nguyen Davison, Anthony Santos, were dressed in lovely salmon-peach ensembles designed by George Hudako, set against a deep blue background lit by Clifton Taylor. During their featured segments, each dancer magnificently rose to the challenge of honoring dance traditions, all the while letting us in on their desire to build on the promise of their potential. Many segments ended with dancers in silhouette, a beautiful tribute to their artistry and eye-catching charm, while others featured dancers leaping through the air to be caught by their partner and spun around like the floating breath of beauty each portrayed.

With only three performances during this Dance Theatre of Harlem's visit to Los Angeles, I do hope this amazingly talented group of artisans will make their way back to our city more frequently in the future. Tickets for all performances at The Broad Stage may be purchased at www.thebroadstage.org or by calling 310.434.3200.

Photo credit: Ben Gibbs

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