Tuesday, February 18, 1997
The Alvin Ailey American Dance Theater continues Ailey’s legacy
with new and old material tonight at the Wiltern Theatre.By Cheryl
Klein
Daily Bruin Senior Staff
The Alvin Ailey American Dance Theater is a mouthful of a title,
but it is a name whose mention draws gushing praise from fans
worldwide. And, when broken down, it tells a lot about the
38-year-old dance company.
First there was Alvin Ailey, a Texas native who fell in love
with dance during a junior high field trip to the ballet. When he
founded his American Dance Theater in 1969, it was part of a dream
that had been building for decades.
"It started with Alvin Ailey wanting to bring dance to people in
every shape and form, but he wanted to grab them not just with
shapes but through feelings," says Karine Plantadit-Bageot, a
veteran Ailey dancer. Starting tonight at the Wiltern Theatre, she
and her colleagues will perform a medley of the company’s new work
and favorite revivals.
"It’s actually a very humble notion," Plantadit-Bageot
continues. "He just wanted to show them the feelings they already
had by putting them into shapes."
Shapes and emotions seem to be what the "Dance" portion of the
name is all about. The company mixes the off-center choreographic
style of Ailey colleague Lester Horton with traditional ballet to
form creations that are often breathtaking. When dancer Don Bellamy
lifts Plantadit-Bageot in a perfect arch above his head, the
dancers’ eyes lock and they seem to defy gravity. In another
sequence nearly a dozen dancers pulsate as a whole, a mass of
graceful limbs.
But, Plantadit-Bageot adds, "Dance goes beyond the steps and the
shapes we form. It’s about people in general  their weakness
and strength. When I go on stage, I’m not out there by myself. I’m
with the character I construct, and I get to know myself better in
the process."
So this is where the "Theater" comes in. Many of the pieces,
including four works making their Southern California premieres at
the Wiltern, have distinct storylines and characters. "Sweet
Release," a new piece choreographed by artistic director Judith
Jamison, follows a couple through a relationship which is genuine,
but flawed.
"I play one of the lovers," Plantadit-Bageot says. "We are very
much in love, but then this bitter person called
‘Snake-in-the-grass’ comes in and we have to deal with him. The
piece is about how love is wonderful, but we have to pay attention
to problems so that it’s not destroyed."
She explains that the set design for "Sweet Release" adds to the
theatricality of the production. "The set is full of colors and the
lighting and the backdrop are really emphasized. Ms. Jamison always
picks sets that agree with the pieces  it’s incredible."
Plantadit-Bageot exudes great respect for Jamison, whom she has
worked with since Jamison’s transition from the Jamison Project to
leading the Alvin Ailey company in 1989.
"The dancers had to adapt," Plantadit-Bageot says of the switch.
"But if you believe in the director, you trust their choices and
agree even if you don’t understand. Ms. Jamison is very clear and
accurate in her choices as a choreographer."
Part of the richness behind the Alvin Ailey American Dance
Theater is its diverse set of choreographers. Currently, the
prestigious list includes Hans van Manen, whose work "Polish
Pieces" is set to make its Southern California premiere tonight,
and Jawole Willa Jo Zollar, a regents’ lecturer at UCLA last
year.
Zollar’s "Shelter," a piece about homelessness, originally
featured an all-female cast. But the newest production transfers
the same steps to a crew of male dancers.
"When the men dance it, they show a tender side of themselves,"
Plantadit-Bageot says. "They allow themselves a sensibility that
you don’t always see from men, at least not on stage."
The intensity of emotion in the piece reflects Zollar’s attitude
toward her choreography. "Everything that I think about in terms of
politics or social change doesn’t necessarily reflect in a piece.
It has to be something that … really reflects in my heart."
"Shelter" was among such subject matter.
With material ranging from jazz by musician Charlie Parker to
folk dancing to family relationships, the company leaves no
choreographic crevice unexplored.
"We, as dancers, are here to give messages or open up a
discussion. We’re part of a universal communication. We need to
touch every subject and say that no one subject is more important
that another," Plantadit-Bageot explains. "It shows the dancers’
diversity of movement and their versatility and gives the stage
life. When you bring the audience on stage, it’s not so
two-dimensional anymore."
Ailey’s diversity, flare for nuance and athletic style are all
arguably part of what makes it so distinctly American. But as a
native of France, Plantadit-Bageot sees the company in a more
international light.
"We’ve been to Japan, to Israel, and I see people in the
audience gasp, their eyes water, they grab their hands or bow their
heads or just clap madly," Plantadit-Bageot says.
She boasts of audiences closer to home that the company has also
touched. "Sometimes there will be men, maybe between 30 and 35, who
would rather be watching sports, but maybe his wife drags him here.
If we speak to him … it means we’ve achieved our mission."
DANCE: The Alvin Ailey American Dance Theater performs tonight
through Feb. 23 at the Wiltern Theatre. Tickets range from $13 (for
students) to $40. For more information, call (310) 825-2101.
The Alvin Ailey American Dance Theater returns to Los Angeles
tonight at the Wiltern Theatre.UCLA Center for the Performing
Arts
(above) Karine Plantadit-Bageot with Uri Sands.
(right) (l-r) Don Bellamy, Plantadit-Bageot and Sands of the
Alvin Ailey American Dance Theater.