Alvin Ailey American Dance Theater, the company that defines artistic excellence and Black cultural legacy, returns to London under the leadership of new Artistic Director Alicia Graf Mack. Nearly seven decades after its founding, Ailey continues to propel dance in exhilarating new directions – pushing the boundaries of what the human body can do and what the human spirit can achieve.
Two different programmes highlight the best of the company’s repertory. The Legacy programme presents classics by Alvin Ailey including the jazz-infused Night Creature; the lyrical, yearning A Song For You; and an excerpt of the transcendent solo Cry. This programme also features Ronald K. Brown’s spellbinding Grace, a rapturous blend of modern and West African dance.
Review by Stephen Gilchrst
For the second time within a few days, I was treated to another striking and brilliant programme from the Alvin Ailey American Dance Theatre. This programme was entitled “Legacy.” It was a remarkable programme, yet again. This programme displayed what producers claimed was “the best of the company’s repertory.” They were not wrong. This particular showing displayed the virtuosity of Ailey who had originally choreographed all these pieces bar one. Three of them dated from the 1970s, one from 1999 (although this was a new production premiered in 2024) with, as the finale a repeat of the 1960 work “Revelations”, which I raved about in my last review of “New Works”.
In this programme contemporary dance melded with jazz dance in an eclectic portmanteau of works, yet again inviting us, the audience, to examine the African American experience through its transformations from eras gone.
The first dance was an excerpt [movements 2 and 3] from the 1974 piece “Night Creature”, performed to the music of Duke Ellington with recreated costumes by Barbara Forbes after original designs by Jane Greenwood. The music and the swing dance transport us to Harlem in the 30s and 40s with the jazz drive segueing into hints of Ravel but also the clink of piano keys. It was at once swing, jazz, and balletic and included a lyrical positive from Sarah Daley-Perdomo, and James Gilmer) closing with something reminiscent of a smidgen of Bernstein’s “Dance at the Gym” from West Side Story. It’s certainly got the evening off to a great start.
Leon Russells “A Song for You”, a song written and recorded by the American rock singer and pianist, laid the background to Renaldo Maurice’s solo turn, a magical fusion of music, power, and bodily movement which gave real and authentic expression to the words of the song. This piece, also carrying the title of the number was an excerpt from Alvin Ailey’s love songs a male counterpart to his “Cry” in 1971 which followed on.
“Cry” was apparently choreographed by Ailey as a present for his mother and dedicated it “to all black women everywhere – especially our mothers.” This was the works third and final section and was originated by the late Judith Jamison, an extraordinary dancer and the former artistic director of the company. On this occasion we were thrilled by Samantha Figgins who twirled and swirled like a dervish as a triumphant Black woman in A Christina Giannini’s splendid white leotard and long ruffled skirt to Chuck Griffin’s musical hint of Cuba.
“Grace,” from 1999, newly produced in 2024 and choreographed by Ronald K Brown, featured twelve members of the company in a symposium of modern dance and West African idioms. The music score backing this piece was diverse and included both Duke Ellington and house music together with music from West African and American traditions the repetitious rhythms of which were hypnotic as the dancers moved between energy busting rapture and quiet with Grand Port de Bras, allongé and arabesque. In other words (and in English, broad arm and leg extensions!)
As I have already written, the finale was the iconic work “Revelations,” work which I reviewed in my recent post on “New Works.” Seeing it again merely served to emphasise in my mind what a brilliant and joyous, and even moving, piece of work this was. Both the music set to traditional songs, hymns and gospel, and the accompanying dance were, what I can only describe, as evangelical, and the diverse nature of the various episodes which make up this piece from plea, prayer, to ecstasy, bliss, and euphoria Is truly something to behold. I have already said in my previous review that the final dance to “Rocka My Soul in the Bosom of Abraham” is a clap along, joyous dance costumed by Barbara Forbes Dancers in which the dancers wear white 1930s Sunday-best church clothes, with the women carrying stools which are placed and replaced, and waving fans as they mime chatter to each other, as they are playfully partnered flattered by the men. The whole of “Revelations” moves from deep grief and quiet faith to uncontainable, celebratory joy.
“Legacy” is yet another triumph for Alvin Ailey’s celebrated company which provides an evening of exhilarating five-star joy to all who love dance.
Night Creature (excerpts)
Movement II
Sarah Daley-Perdomo, Solomon Dumas,
Hannah Alissa Richardson, Tyrone Reese, Mahalaya Tintiangco-Cubales, Shawn Cusseaux, Isabel Wallace-Green, Leonardo Brito, Dandara Veiga, Mason Evans, Deidre Rogan, Sebastian Garcia, Kali Marie Oliver, Michael Cherry
Movement III
Sarah Daley-Perdomo, James Gilmer & Company
A Song For You
Renaldo Maurice
Cry (excerpt)
Samantha Figgins
Grace
Jacquelin Harris, Hannah Alissa Richardson, Corrin Rachelle Mitchell, Ashley Kaylynn Green, Samantha Figgins, James Gilmer, Isaiah Day, Solomon Dumas, Xavier Mack, Patrick Coker, Christopher R. Wilson
Revelations
PILGRIM OF SORROW
I Been ‘Buked
The Company
Didn’t My Lord Deliver Daniel
Shawn Cusseaux, Deidre Rogan, Hannah Alissa Richardson
Fix Me, Jesus
Corrin Rachelle Mitchell, Leonardo Brito
TAKE ME TO THE WATER
Processional/Honor, Honor
Xavier Mack, Dandara Veiga, Christopher Taylor, Isaiah Day
Wade in the Water
Jessica Amber Pinkett, Renaldo Maurice, Isabel Wallace-Green
I Wanna Be Ready
Christopher R. Wilson
MOVE, MEMBERS, MOVE
Sinner Man
Christopher Taylor, Sebastian Garcia, Mason Evans
The Day is Past and Gone
The Company
You May Run On
The Company
Rocka My Soul in the Bosom of Abraham
The Company
CAST
Night Creature: Sarah Daley-Perdomo and Company
A Song For You: Yannick Lebrun
Cry: Constance Stamatiou
Grace: Alvin Ailey American Dance Theater
Revelations: Caroline T. Dartey, Yannick Lebrun, Xavier Mack and Company
CREATIVES
Night Creature
Choreographer: Alvin Ailey
Restaged by: Masazumi Chaya
Music: Duke Ellington
Costume Designer: Jane Greenwood
Costumes Recreated by: Barbara Forbes
Lighting Designer: Chenault Spence
A Song For You
Choreographer: Alvin Ailey
Music & Lyrics: Leon Russell
Vocals: Donny Hathaway
Costume Designer: Ursula Reed
Lighting Designer: Shirley Prendergast
Cry
Choreographer: Alvin Ailey
Music: Alice Coltrane, Laura Nyro & Chuck Griffin
Costume Designer: A. Christina Giannini
Lighting Designer: Chenault Spence
Grace
Choreographer: Ronald K. Brown
Rehearsal Associate: Arcell Cabuag
Music: Various Artists
Costume Designer: Omatayo Wunmi Olaiya
Lighting Designer: Tsubasa Kamei
Revelations
Choreographer: Alvin Ailey
Music: Traditional
Décor & Costume Designer: Ves Harper
Costumes for “Rocka My Soul” Redesigned by: Barbara Forbes
Lighting Designer: Nicola Cernovitch
Company Leadership
Artistic Director: Alicia Graf Mack
Associate Artistic Director: Matthew Rushing
Rehearsal Director: Clifton Brown
Assistant Rehearsal Director: Kanji Segawa