University of Virginia Library

Artist Series Review

Ailey Troupe Justifies Reputation

By Myles Tronic
Cavalier Daily Staff Writer

Not only to present an excellent
performance in modern dance but
an educational commentary on
Black Culture, The Alvin Ailey
American Dance Theater appeared
at University Hall on Monday night
in conjunction with Black Culture
Week at the University. This was
the fourth production in the
University Artist Series.

The dance performance was of
little similarity to the ballet tradition,
for it lacked any sort of
plot. The company was presenting a
work in three "suites," They were
designated, "Blue Suite," "Quintet,"
and "Revelations." Each of
these was subdivided into short
numbers.

The music was recorded and
mostly vocal. The acoustics of
University Hall seemed to distort
the music somewhat, but this had
little effect on the performance of
fourteen players in the cast who
must be quite accustomed to
performing in acoustical cow-.

In "Blues Suite," the background
was traditional blues. The
program read, "From the fields and
alehouses of the southern Negro
sprang blues songs of lost love,
despair, protest and anger hymns
to the secular regions of his soul." The scenes varied, as did the
costumes from number to number.
There was never any scenery, just
props. The mood of this suite was
quite depressing with various tastes
of places such as Harlem, New
Orleans, and Memphis. The dancers,
regaled in bright honky tonk
costumes brilliantly conveyed the
feeling of depression through their
glittery apparel and sometimes
humorous but pathetic scenes. Most
discouraging of all, was the scene at
the "House of the Rising Sun."
Sylvia Waters, Renee Rose, and
Linda Kent beautifully depicted the
prostitute's bitterness in the flowing
movements of dance.

The second part of the dance
performance, "Quintet' was so
named because it was entirely
performed by the same five young
ladies who appeared as singers in
bright red and very tight evening
apparel. Their blond wigs added to
the effect they were trying to
convey. Surprisingly enough, the
music was all Laura Nyro, which
turned out to be most appropriate.
Right in the middle of "Quintet,"
with "Poverty Train," Miss Sylvia
Waters who deserves mention more
than once, stripped herself of her
shining costume and wig, revealing
a shabby slip of poverty. In one of
the most stirring moments of the
performance, Miss Waters did a

marvelous solo, in most liquid style,
of the discouragement and torment
of poverty. Paradoxically and beautifully,
Miss Waters moved gracefully
even in her most agitated
movements of the girl struggling to
get off of the poverty train.

Religious Suite

The third and final suite, "Revelations"
was of a religious nature.
The music which was of the
traditional spiritual contained such
famous spirituals such as "Wading
in the Water" and "Rocka My Soul
in the Bosom of Abraham." This
suite, it was written, "explores
motivations and emotions of American
Negro religious music which
like its heir, the blues, takes many
forms - true spirituals with their
sustained melodies, song-sermons,
gospel songs and holy blues - songs
of trouble, of love, or deliverance."

Standing Ovation

There were obvious religious
overtones in the costuming and
props. There was also a very
cleverly subtle religious reference in
the duct, "Fix Me Jesus." The two
dancers often formed a configuration
of Christ on the Cross.

"Rocka My Soul in the Bosom
of Abraham" proved to be a grand
finale. The entire cast was on stage
for what made for an optimistic
note to this often unhappy commentary.
The final applause of the
audience was stupendous. Not only
did the company receive a standing
ovation but so much applause that
each member of the cast came back
singly for still more applause.

Satisfied Audience

The Alvin Ailey American
Dance Theater without doubt justified
their already eminent reputation
to the University Monday
night to the satisfaction of all
present.