AILEY II

The Ailey II program with Francesca Harper at the helm began in silhouette for Chalvar Monteiro’s Berry Dreamin’‘ dancers milled around the Joyce Theater stage decorated by a suspended clothesline. Draped in gorgeous sheer jumpsuits by Danté Baylor, the matching flowing overlays were paired in magenta, deep blue, and red, forming a striking image.

Between dimly lit, fluid motion set to ambient scores, and saturated, vibrant light jiving with groovy tunes like “Maybellene”, the movement quality and visual dynamic changed as scenic elements shifted. What was so unique to this opening piece was the dynamic, and evolving character work. Each dancer embodied a story, elaborating on the variety of relationships between them.

Following intermission, My’Kal Stromile’s Third Person Point of View shifted the evening to a trio in bold colors, and suspended black trousers, matching long sleeves and socks by Ezra Lovesky. One dancer was in red, one in blue and one in green: an exciting technicolor performance. The trio was precise, sharp and connected, building and spreading across the stage like a spider’s web. Conversing in a fluid pattern, the trio took up the depth of the stage, moving closely together, coordinating limbs and motion as one.

Likes vs. Life by Renée I. McDonald introduced another trio, with a more commercial feel. There were elements of drama spotlighting dancers running, and screaming in exasperation. Around three quarters of the way through, the dancers let out a screech, while in a deep second. The sound was shocking, and the choreography had a “made-to-impress” factor that drew audiences in.

You did not need to be a dancer to see that the moves were athletic, and difficult. The slow-motion acting out of the title, Likes vs. Life connected the piece to a digitally-relatable narrative. Screens versus reality, social media and real life.

In 20 years, our dance community will look back at the archives to dig into what contemporary dance of the 2020s looked and felt like, and Rena Butler’s In Session will be a prime example.

The feeling, the music, the choreography, masterfully merged to represent what is happening now. Dancers, in school uniform styled pieces, embraced pedestrian motion of contemporary modalities, wrapped in supreme technique, and theatrical ingenuity.

In Session leaves you wondering what a full evening length of this story could look like. A desire for more was
widespread. A fresh new work, it was reflective and true to the moment. A standing ovation was inevitable.

EYE ON THE ARTS, NY — Emma Edy Morris

***Photos by Nir Arieli