I Want To Be Ready: Ailey II

I couldn’t get to Alvin Ailey at Sadler’s Wells but there were Ailey 2 (as we seem to be styling them) travelling around the UK! It was tremendous and I was glad to lead a standing ovation for them.

We saw a range of dances under Francesca Harper’s warm and expert direction. As well as the emotional pull and humour of Revelations, we had the treat of Enemy in the Figure by William Forsythe, with the fringing of the dancers costumes adding to the movement of the spinning dancers and fantastic dance music pulsing away. Astonishing too were the flowing limbs of the dancers.

Harper’s own Freedom Series showcased the expert counting of Ailey groups, set to maybe Bach, and featuring a stunning sequined dress, some improvisation alongside to show the character of each dancer and some innovative light work with globes. The dancers were really being pushed here in a range of techniques, forming a line with one being pulled behind.

The Hunt by Rupert Battle alongside an intense drumbeat was active proof that real men dance! Showcasing the dancers physiques, their vigot and verge as well as emotion, it was also an ensemble piece and driven by shape and by the footwork. In The Hunt and Revelations I noticed how impressive their footwork was, so precise and ever changing, as well as the counting (as on occasion they danced in silence).

Best of all is how much clapping is involved at points and how much fun it was to be encouraged to clap along as an audience at the end, and share the dancers joy. Sweetly I noticed a dancer sharing hearts with some young dancers — Ailey 2 champion young dancers, especially those in black-led dance companies and groups.

Strikingly, the characterisation and emotions as well as the technique make Ailey unique amongst contemporary dance groups. They remain connected and accessible to their audiences, whilst producing some stunning visual solos, par-de-deux’s and ensemble works. As ever the hairs stood up on the back of my neck during ‘Didn’t the Lord Deliver Daniel?’ and ‘I Want To Be Ready’. I enjoyed seeing both male and female roles with challenge in them throughout, as well as how diversity and personality was allowed to come through. There was also the hopeful beautiful of ‘Wade in the Water’, and the men getting their moment of expression and energy fleeing in ‘Sinner Man’. Not to mention the lyricism of ‘Jesus, Fix Me’.

For one night only, there was a Q&A afterwards with the director and two of the dancers, which added to the special atmosphere. I couldn’t help but notice that Southampton Mayflower was half full — timing or pricing issue? But this allowed me to move as somehow, even being at the front, I couldn’t see, as it turns out the seats lose their raking here! Go and see an Ailey if they come near you — even if you don’t like dance — they will change your mind!

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