Jubilee

The only plausible explanation for Alvin Ailey American Dance Theater's performance last night is that their dancers are not subject to the laws of gravity. I have never more longed for a performance to continue long after the final curtain went down. It is the 50th anniversary of Ailey's company, and the show they put on celebrated it with a bang.

The bill opened with a short film recounting Ailey's life and career and the history of his company, followed by a reinterpretation of Maurice Bejart's Firebird. Although the performance was innovative, with militaristic, Soviet-esque undertones, the cutting edge dancers seemed somehow incongruous dancing to Stravinsky. It wasn't until the explosion of Love Stories hit the stage that their full range became apparent.

These dancers are beyond athletes. There was not an undeveloped muscle in any of their bodies, and the sweat was flying off of them visibly as they performed. But they were having a blast! In Love Stories, danced to Stevie Wonder, they simulated dance in its organic form, in the way dancers free style before class or on the street. Their breakaways became increasingly incredible, with impossible flexibility and the ability to leap from a prone position to six feet in the air instantaneously. All this with Ailey's voice incorporated into the music, as he spoke about dance. Love Stories was followed by Reflections in D, a short, solo piece danced to Duke Ellington. Glenn Allen Sims really shone in this piece, which displayed his musicality beautifully.

The culmination of the evening, however, was Ailey's most famous piece - Revelations. I studied Ailey in a class on the history of American dance, and I remember being floored by the video I saw of Revelations. That was nothing compared to last night. Ailey used the southern African American experience as his inspiration for Revelations, which is danced to gospel music. In "Pilgrim of Sorrow," the duet danced to "Fix Me, Jesus" by Alicia J. Graf and Jamar Roberts was thoroughly moving. In the famous baptismal scene in "Take Me to the Water" Renee Robinson was brimming with energy and vitality.

During the final part, "Move, Members, Move," the audience could barely keep still. The dancers donned their "church clothes," the women in bright orange dresses, wide-brimmed hats, and carrying matching fans, and the men in ties and vests. Everyone was clapping, and the dancers faces revealed how much fun they were having, as well. The audience gave the company a standing ovation, with many calling "encore," and after their bows the dancers launched right back into their moves. If only "Rocka My Soul in the Bosom of Abraham" could have coninued long into the night.

If you would like an idea of what Revelations looks like visit this link: http://www.youtube.com/watch?v=l9uEq9Sjefg. And for that matter, check out Love Stories, which was my favortie, too: http://www.youtube.com/watch?v=vu9dQcefHSc. And never pass up an opportunity to see this company live.