Interludes

VIEWPOINTS – Rousing dance-making: ALVIN AILEY electrifies in an Alonzo King piece; CALEB TEUSCHER’s crowd-pleasing “Bzzz” at The Joyce

• By drediman
• December 18, 2023
• No Comments

This past weekend, I took in a couple of rousing dance performances that jolted audiences at New York City Center and The Joyce Theater, two of the city’s premiere dance venues. As always, here are my thoughts.

ALVIN AILEY AMERICAN DANCE THEATER
New York City Center
Fall/Winter season concludes on December 31

Over at City Center, Alvin Ailey American Dance Theater is currently in the midst of its prolific fall/winter season (HIGHLY RECOMMENDED). At the performance I attended, the main event was the return of Alonzo King’s 2001 Following the Subtle Current Upstream to the company’s repertoire in a new production. Set to a score by by Zakir Hussain – featuring a moody stormy segment by Miguel Frasconi and earthy recordings by Miriam Makeba – the work is in essence a meditation on the search for centeredness, with a focus on inward reflection to effect communal joy. Beginning with a coiled trio of male dancers, the work builds gradually in excitement and momentum – with some distinctive, pungent solos and duets along the way – until it explodes with brilliant life-force, particularly galvanizing given the energy, style, and technique of the Ailey dancers. Like the works of William Forsythe, King’s choreography basks in extended lines and a stylish musicality that’s marked by undulating tension and release. King’s piece was sandwiched between two Ailey works – the joyous Memoria (a large-scale work featuring Ailey II and students of the Ailey School), as well as Ailey’s enduring masterpiece Reflections. Both were performed with uncommon presence and vibrancy.

CALEB TEUSCHER: BZZZ
The Joyce Theater
Closed

This past weekend, I was also able to catch the closing performance of Caleb Teuscher’s Bzzz (RECOMMENDED) at The Joyce Theater in Chelsea. Originally commissioned by City Center for its very popular Fall for Dance Festival, the feel-good work has been expanded into a full length piece for The Joyce presentation. In short, Bzzz is an inspired and exuberant collaboration between Teuscher – a young tap sensation who is transitioning nicely into the role of choreographer – and astonishing SPIDERHORSE beatboxers Chris Celiz and Gene Shinozaki. Together with a band of youthful and distinctive tap dancers (Jared Alexander, Ava Brooks, Naomi Funaki, John Manzari, Makayla Ryan, and Funmi Sofola), they’ve created an entertaining and crowd-pleasing piece that’s appropriate for the entire family. Indeed, at the matinee performance I attended, I spotted many children in the audience, all of whom seemed captivated by the genuine chemistry and upbeat energy created by intersecting tap and beatboxing. Both inherently percussive, the two forms thrive on playful virtuosity to fuel excitement, something that Bzzz does with ease. Although the work is arguably perhaps about 10-15 minutes too long it in its current form (e.g., there are a few false endings that can be streamlined; there’s also a segment involving orbiting illuminated balls that seems superfluous), there’s certainly enough invention and variety to keep one’s interest piqued throughout.