Displaying items by tag: Christopher Taylor

This year's Alvin Ailey American Dance Theater 65th-anniversary engagement at Chicago's historic Auditorium Theatre held particular importance as it marked the company's first season after Artistic Director Robert Battle's departure. Battle was only the third person to lead the company in its 65-year history, following Alvin Ailey and Judith Jamison. During this transitional period, Matthew Rushing is serving as Interim Artistic Director. Despite these changes, the program offered a dynamic evening of dance, featuring both iconic works and innovative new pieces.

The performance opened with a vibrant expression of grace, patience, and elegance in Ronald K. Brown's "Dancing Spirit."  A dancer gracefully moves through a sequence of elegant arm extensions while standing in a spotlight upstage. Soon, other dancers join in, echoing the movements with slight variations. The pulsating African-diasporic soundscape fueled the dancers, clad in tie-dyed blue and white dresses and separates. They moved with a reverent, almost ecstatic joy. "Dancing Spirit" served as a potent reminder of the company's deep connection to its African American heritage and as a homage to Artistic Director Emerita, Judith Jamison.  The exceptional cast of dancers, Hannah Alissa Richardson, Deidre Rogan, Coral Dolphin, Jacquelin Harris, Solomon Dumas, Christopher Taylor, Christopher R. Wilson, Michael Jackson Jr., and Xavier Mack brought the stage to life with their extraordinary performances.  Throughout the performance, glimpses of the opening are interwoven into the choreography, leading to a jubilant finale. The music selection, featuring compositions by Duke Ellington, Wynton Marsalis, Radiohead, and War coupled with the lighting design by Clifton Taylor provided a rich and dynamic backdrop that complemented the dancers' artistry and passion.

Alvin Ailey American Dance Theater in Kyle Abraham's Are You in Your Feelings

Kyle Abraham's "Are You in Your Feelings?" marked an emotional shift in the performance, presenting a sexually and emotionally charged piece that contrasted with the regal opening. The dancers, dressed in jewel tones of indigo, ruby, emerald, citrine, and amethyst by costumer Karen Young, explored themes of vulnerability and self-discovery, navigating the complexities of finding and losing love. Abraham's choreography emphasized nuanced gestures and emotional authenticity, with the dancers expressing a range of emotions, including longing, frustration, jealousy, contempt, same-sex and self-love. Their performances featured voguing duckwalks, fluid body waves, and other sensual movements. The narrative was supported by modern music choices, including Erykah Badu's soulful "I'll Call U Back" and Jhené Aiko's tender "While We're Young," as well as classics like The Flamingos' "I Only Have Eyes for You" and Shirley Brown’s “Woman to Woman” and contemporary tracks such as Kendrick Lamar's "LOVE”.  The featured dancers included Caroline T. Dartey, Solomon Dumas, Samantha Figgins, James Gilmer, Ashley Kaylynn Green, Michael Jackson, Jr., Renaldo Maurice, Ashley Mayeux, Corrin Rachelle Mitchell, Chalvar Monteiro, Miranda Quinn and Deidre Rogan. Ultimately, this introspective work offered a profound glimpse into the emotional complexities of the human experience.

The program culminated with the iconic "Revelations," a cornerstone of the Ailey repertoire. Divided into three sections, “Pilgrim of Sorrow”, “Take Me To The Water” and “Move, Members, Move”, each section represents different aspects and experiences in the African American Southern Baptist worship. From the prayers for salvation in “Didn’t My Lord Deliver Daniel”, the baptism in “Wade in the Water,"  and the congregate of members in “Rocka My Soul in the Bosom of Abraham “ each section resonated with emotional depth. The dancers delivered powerful performances, their bodies embodying the struggle, resilience, and spiritual fervor depicted in the music.

Ailey once said in an interview. “I’m interested in putting something on stage that will have a very wide appeal without being condescending; that will reach an audience and make it part of the dance; that will get everybody into the theater. If it’s art and entertainment—thank God, that’s what I want to be.”   

The audience erupted in a standing ovation, a testament to the enduring power of this groundbreaking work.  Ailey's choreography remains a potent portrayal of the African American experience, weaving spirituals, and gospel music into a moving journey.

While Artistic Director Robert Battle's absence will certainly be felt, the company will navigate this transitional period with grace. The program's curation, showcasing established masterpieces alongside contemporary voices, hints at the stability of the company.

Celebrating its 55th engagement at the Auditorium Theatre, the Ailey company's return held a special significance for Chicago audiences. The historic venue, with its ornate architecture and rich acoustics, provided the perfect backdrop for these powerful works. The palpable energy between dancers and audience offered a potent reminder of the transformative power of live dance and the importance of artistic expression, especially during times of transition.

As the curtain fell on "Revelations," one couldn't help but feel the joy of witnessing exceptional artistry and the hopeful anticipation of what the future holds for the Alvin Ailey American Dance Theater. This 65th anniversary program served as a poignant bridge between the company's rich legacy and the exciting possibilities that lie ahead.

Highly Recommended

When: Through Sunday

Where: Auditorium Theatre, 50 E. Ida B. Wells Drive

Running time: 2 hours, 25 minutes with two intermissions

Tickets: $40-$174 at 312-341-2300 and auditoriumtheatre.org

Plays like Flying Elephant Productions’ ‘Defacing Michael Jackson’ are exactly what the Chicago theatre scene is for. This innovative new play by Aurin Squire won the Lincoln Center Theatre one act contest in 2014 and makes its area debut at Stage 773. Before putting on your sequined glove, keep in mind that this play about Michael Jackson isn’t a biography of his troubled life, but rather an allegory about the parallels between the King of Pop and gentrification. Something about this work feels raw and maybe even slightly unfinished, but the sharp and unpredictable dialogue put words to ideas or feelings most of us would rather ignore.

Alexis J Roston directs this sparse production. Much like the children in the play, Flying Elephant Productions seems to be operating on a shoe-string budget. That’s just fine, because you can’t buy enthusiasm and this cast has plenty of that. Roston has made her career about creating more African American visibility in the Chicago theatre community, tapping her for this project seems like a no-brainer.

‘Defacing Michael Jackson’ is about a group of black kids in a poor suburb of Miami in 1984 who worship Michael Jackson. For Jackson fans, you’ll know this is right around the time ‘Thriller’ became the album of the century, making Jackson the biggest celebrity in the world. This was of course before all the extreme face work, skin tinting and misconduct allegations. By all accounts, Jackson was the most successful black person in the world and his fans admired him for being ‘self-made.’ Fan club organizers Frenchy (Jory Pender) and Obadiah (Christopher Taylor) attempt to create a mural for their idol until a new, white kid moves to town and wants to join their club. New kid Jack (Sam Martin) is also a huge Michael Jackson fan and with his father’s money is able to sweep in and help get the mural painted, meanwhile taking all the credit. As tensions run high between the kids, their socioeconomic circumstances, and the sordid life of the world’s greatest pop star, Squire makes his point that we as a society let this happen and at times even relished in the breakdown. Jackson’s image and music are an incredibly smart metaphor for the cultural misappropriation and subjugation that has gone on for centuries.

The action of the play stays mostly around 1984, but you’d have to live under a rock to not be familiar with the slow-moving car crash that was Michael Jackson’s life through the 90's and 00's. You’d also have to be clueless to be unaware of how bad inner-city life was in America during the early 90's. As the kids discuss how the mural faded over the years while they grew up, it churns up many well-composed observations about how we dispose of celebrities after taking everything we can from them. Much the way that society has discarded entire demographics once they are no longer useful.

‘Defacing Michael Jackson’ isn’t exactly an apology for Michael Jackson, but it is written for anyone who was ever a fan. It’s a story of impoverished children coming to terms with the near impossibility of breaking the cycle of poverty.

Through August 12 at Stage 773. 1225 W Belmont Ave. 773-327-5252.