Alvin Ailey stirs the Jerusalem soul
The American dance theater performed to a sold-out audience for its one night in the holy city
Jessica Steinberg, The Times of Israel's culture and lifestyles editor, covers the Sabra scene from south to north and back to the center
Jerusalemites were elated by the Alvin Ailey American Dance Theater on Saturday night, as the renowned troupe opened its Israel tour in the holy city, treating the sold-out audience at the Jerusalem Theater to a varied repertory of the theater’s works from the last 50-plus years.
It’s true that more than one female audience member was heard commenting on the magnificently muscled physiques of the dancers, particularly the male members of the troupe, but it was the company as a whole that drew the crowd’s attention.
Starting with the subtle “Streams,” first staged in 1970, and moving to the newer and dramatic “In/Side,” from 2008 and “Unfold” from 2005, the pieces gained momentum, particularly with the highly energetic and enthusiastic “Night Creature,” from 1974, choreographed to music by Duke Ellington, in which the company of dancers, costumed in spangled and tie-dyed 1970s-era bell-bottomed pants and dresses, bopped to the beat of a swing-like tune.
But it was “Revelations,” the monumental series of dances choreographed by Alvin Ailey in 1960, that brought the audience to its final standing ovation. The sorrowful, joyful and spiritual series, much of it choreographed to African-American spirituals, song-sermons, gospel songs and holy blues, struck a deep chord with the crowd, who clapped along at intervals, keeping beat with the music.
The troupe is performing in Tel Aviv next week at the Israeli Opera Performing Arts Center on October 2, 3, 4, 5 and 6, with “Revelations” included in every program.
One piece that isn’t being performed in Israel but which is celebrating its Alvin Ailey international premiere is American-Israeli choreographer Ohad Naharin’s “Minus 16,” his work that challenges dancers to improvise and includes audience participation, as well as featuring an eclectic score that ranges from Dean Martin and cha-cha to techno-pop and Israeli music.
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