Theatre
Review
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ALVIN AILEY AMERICAN DANCE THEATER
King’s Theatre, Glasgow, Tue 20 & Wed 21 Sep; Edinburgh Festival Theatre, Fri 30 Sep & Sat 1 Oct.
In recent years, a number of American dance legends have visited Scottish soil. Paul Taylor, Bill T Jones, Merce Cunningham - all still going strong decades after forming their companies. Others have come in name only: George Balanchine, Alwin Nikolais are giants of dance whose influence lives on through others. Alvin Ailey is one such giant, a visionary choreographer whose company remains as strong and vital as it was when he died in 1989.
In the capable hands of Judith Jamison, who danced with Ailey for 15 years, the Alvin Ailey American Dance Theater has continued to thrive. Founded to promote the uniqueness of African-American culture, and Ailey’s philosophy that ‘dance if for everybody’, the company’s 200-strong repertoire fuses ballet, modern and jazz
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dance. As they’ve only played in Scotlaned once, at the Edinburgh International Festival in 1968, a return visit is long overdue. Scottish audiences will be treated to two different programmes, each serving as a microcosm of the company’s wider repertoire. In Glasgow, work set to Stevie Wonder and Bach sit side by side, while in Edinburgh the disco tunes of Earth Wind and Fire share a bill with Jamison’s new piece, Reminiscin’, inspired by jazz legends Ella Fitzgerald and Nina Simone, amongst others.
Only one dance appears in both programmes, Ailey’s signature piece Revelations. Inspired by his church- going childhood in Texas, the work is set to gospel music which is by turns uplifting and poignant. For Jamison, works such as Revelations allow her to keep Ailey’s vision alive long after his death. ‘Even though I introduce new choreographers into the repertoire, I always think about where we came from,’ she says. ‘Revelations is the root of this company. It was first performed in 1960 and it’s been done ever since. We pay homage to where we’ve come from, so we know where we’re going.’ (Kelly Apter)
CONTEMPORARY DANCE COMPANY
CONTEMPORARY DANCE THE CURVE FOUNDATION , Brunton Theatre, Musselburgh, Fri 9—Sat 10 Sep
When Scottish Ballet‘s co-founder Peter Darrell had his funding cut in 1978. he responded with actions 9 rather than words. Choreographing Economy in Strait/acket but still room i for movement. Darrell proved that you can slash budgets but you can't stifle creativity. Almost three decades later. the Curve Foundation are making a similar statement. Despite producing consistently strong work in recent years. the Edinburgh-based company have been denied funding for the coming year.
The reason? Apparently provincial theatres don't want works by Merce Cunningham. William Forsythe or Hans van Manen — legendary choreographers whose work is widely seen across Europe and America. Curve's artistic director Ross Cooper has reacted by restaging Darrell's protest work alongside a diverse programme of modern dance. Merce Cunningham's fascinating Signals. and Rui Lopes Graca's beautiful. Bach-set First Draft utilise the full company, complemented by two technically challenging solos by Rambert dancer, Ana Luian Sanchez. and Lopes Graca.
Cooper has also created a new work himself. Inspired by light and dark. the work is accompanied by Jimi Hendrix‘ Voodoo Chi/d played on electric cello. Like Darrell. he is determined to keep up the good work. ‘Following on from our successful spring tour and Fringe show. our new programme is a response to restrictions placed on arts organisations by bureaucracy.‘ says Cooper. 'We are the only company doing this repertoire. which helps us develop a distinct style and vocabulary of movement.‘ (Kelly Apter)
SCOTTISH DANCE THEATRE/DAVID HUGHES DANCE
Dundee Rep, Thu 15—Sat 17 Sep/The Space, Fri 9—Sat 10 Sep.
As life slowly returns to normal in a post-Festival Edinburgh. the cultural spotlight has now shifted to Dundee. Not only is there a children's film festival taking place their this month. but two exciting dance events that are wonhy of attention.
David Hughes has been one of the UK's most captivating dancers for 20 years. and With the advent of his new company is now turning his hand to choreography. Opening at the Space. Hughes' first creation will sit alongside solos by Javier de Frutos and Siobhan Davies. plus Rafael Bonachela's Superb [4:FREEZE-FRAME] — a highly physical work recently seen at the Edinburgh Fringe.
Also flushed with Fringe success is Scottish Dance Theatre. The company's presentation of Liv Lorent‘s Luxuria was nothing short of stunning. and living proof that this dynamic young company grows in stature on a daily basis. Kicking off their autumn tour at Dundee Rep. SDT will perform a new work by Portuguese choreographer Rui Horta. An intense look at the lies which can seep into a relationship. Mute will give these talented dancers another chance to show the range of emotions at their disposal. As artistic director Janet Smith says. movement is only half the story at SDT. ‘We're Scottish Dance Theatre and we want to live that name. The dancers are maturing and learning how to bring their lite (BXDQTIGITCGS to what they do here.‘ (Kelly Apterlth