Alvin Ailey American Dance Theater at Zellerbach Hall

I fell in love with modern dance during my freshman year of high school. The freedom of expression, inclusivity of all body types, and entertaining qualities of modern dance are like nothing else I’ve ever known. It’s ugly and it’s beautiful. It’s silly and profound. It’s a world I want to be a part of forever.

Last week’s Alvin Ailey American Dance Theater performance was one of the best shows I’ve seen since arriving in Berkeley last August. Not only were the dancers’ movements and precision incredibly impressive and aesthetically pleasing, but the political commentary embedded in the pieces, coupled with intriguing technological nuances, made this performance quite unlike anything I’ve seen.

The company performed one of three programs each evening from Tuesday, April 21 to Saturday, April 25 at Zellerbach Hall. However at the end of each of the three programs, Ailey closes the show with the famous movement entitled “Revelations.” First performed in 1960, this piece is set to blues songs such as “Fix Me, Jesus” and “Sinner Man” and reflects the hardship of slaves fighting for freedom in the 19th century. It is one of Ailey’s most well known pieces of all time.

I had the privilege of seeing Ailey’s performance on opening night, which doubled as the West Coast premiere of a piece titled “Odetta,” choreographed by current rehearsal director Mathew Rushing.

The piece pays tribute to Odetta Holmes, an influential singer, songwriter, actress, and political activist of the 20th century, and commemorates the 50th anniversary of the Civil Rights Act. The dancers’ physical movements and performance abilities in “Odetta” evoked sheer strength and passion — a reflection of Odetta’s impact in the music industry and on the Civil Rights Movement. The number was introduced with a serious tone then transitioned to a satirical ditty, “There’s a Hole In The Bucket,” that left the audience laughing out loud.

While “Odetta” impressively introduced the Ailey company with technique, activism, and comedy, I was even more stunned by the number titled “Caught,” in which Kirven Douthit-Boyd performed a solo in strobe lighting. The merging of light technology and high-quality dance made for one of the most captivating dance numbers I have ever witnessed. One of the rehearsal directors  explained to me that the dancer was holding a clicker in his hand and controlled the lighting himself in order to perfectly synchronize the flashes with his leaps.

Now that I’ve undoubtedly jazzed all readers about the excitingly fearless movement of Alvin Ailey American Dance Theater, don’t worry if you didn’t get a chance to see them this year. The company tours for seven months out of every year. They begin each year with their domestic tour, then conduct an international tour from June to September. They close each year in New York for their December program, where audiences love to see any production other than the Nutcracker.

Luckily, Ailey has a long history with Berkeley. The company has been annually performing at Zellerbach Hall since the 1960s; the dancers even describe Berkeley as being a second home.

Make sure to see Ailey next season, or any of the other famous groups that perform at our home stage. Student tickets are always 50% off. What a deal! Take it from your local Caliber dance lover, the experience is worth the money. If you want to be wowed by energy and inspiration from a live dance performance, check out Ailey when they come back into town.

Image sources: vimeo.com and entertainment.suntimes.com