The Alvin Ailey American Dance Theater is best known for its, well, dances. When I went to see one of the company’s shows a few weeks ago, however, I saw that this was far more than a group of dancers. It was a group of artists.

The Alvin Ailey Company’s work can best be described as a rich fusion of dance, music, culture, color, and acting, a stimulating, thrilling ride that is bound to captivate even those that don’t enjoy dance shows. Simply looking at the cover of this season’s playbill will tell you that the company is about more than just showcasing complex choreographies. It strives to create an image, to appeal to every sense in an interactive performance filled with emotion and rhythm.

The 2010-2011 Season Alvin Ailey Playbill

The best example of this is the first piece I saw that night at the NYCity Center, which was “Anointed.” Emotionally and musically diverse, “Anointed” was as mystifying as it was enthralling, indulging the audience in a sensual, empowering love story of sorts. The first part, “Passing,” depicted the tense yet passionate encounter of a man and woman. Backed by an eerily hypnotizing score whose style reflected that of Phillip Glass, the dancers displayed a complex array of emotions, seemingly both loving each other and fearing each other at the same time. The female dancer, Linda Celeste Sims, was an especially convincing performer, putting on an agitated, wounded expression that captured well the overall feeling of the piece. The second part of “Anointed,” called “Sally Forth,” was much more uplifting, as the dancing was now more fast-paced and aggressive. The five women performing in the piece were completely taken by the music, possessed and empowered by a god of dance. Their fierce, determined faces paired the thunderous pulsing of the African drums made for a very captivating piece that was quite different from its antecedent. The sharp change in mood was also mirrored in the new colors that took hold of the stage. Whereas in “Passing,” the performers were engulfed in black to represent the graveness of the piece, the performers in “Sally Forth” donned bright fuscia dresses to match the energy of the drums. The third and final part of “Anointed,” “52 and Counting,” was probably my favorite. It was the complete opposite of “Passing,” a very sensual, happy piece. The sheer exuberance radiated by the performers was highly inspiring, an entirely genuine gesture. The whole of “Anointed” seemed to build up to this one piece, and it gave the perfect sense of resolution that “Passing” desperately called for.

A snapshot from "Passing"

With its mesmerizing rhythms and constantly transitioning moods, Alvin Ailey’s “Anointed” was both captivating and invigorating. I was kept on my toes throughout the whole performance, and was actually sad when it was time to go home. Nevertheless, I was very satisfied, feeling as if I had just experienced something much deeper than a dance show. I had been transported, taken on an emotional roller coaster. No, the school of Mr. Ailey did not disappoint, and I hope to be back at the NYCity Center soon, even if it is to watch the same pieces again.

Artistic Director Judith Jamison said, “Alvin Ailey gave a chance to people to tell their stories. Dance is for everyone. What began as a black movement has now become a part of a colorful changing society.” In these three sentences, Jamison touches upon opportunities, racism, and equality. Through all three performances, all of these elements are shown.

Being a dancer myself, I looked forward to attending an Alvin Ailey performance. I made sure I was on time and in the right location. As soon as the performance started, the lights dimmed and “Anointed” began. What captured me about “Anointed” was their ability to express their emotions fully and clearly. When Linda Sims, the female character, leaves Jamar Roberts, the main male character, his body expressed longing and despair. He hunched back and stretched out arms show sorrow and desire. Then Linda changes the color of her costume to purple, a vibrant color that catches the eyes of the audience. As the music increases in rhythm, the movements react respectively. The characters leap, run, spin, and constantly move all around the stage. They don’t leave any stage space untouched. All these movements express a feeling of rejuvenation and inspiration. I was sincerely, so amazed at their ability to tell a story with such passion. I realized then that I wasn’t just watching any other dance company, I was watching Alvin Ailey, a company filled with love for their dances and their dances.

When the next program began, “The Prodigal Prince”, I immediately noticed their costumes. This time around, I noticed how their costumes defined their character. Hector Hyppolite wears a bright red costume that attracts the audience’s attention. Erzulie Freda Dahomey wear an intricately designed blue gown with a seemingly heavy headset. Her complexity in her costume shows her importance in society. She is a goddess and throughout the performance, she never loses her poise, always with her head held high. On the other hand, Saint John the Baptist has a simple white costume showing innocence and purity in his role in society. The costumes get brighter and more vibrant as the virgin women walk in with red hand prints. The story although confusing, is eye-catching and emotive. I couldn’t wait to watch the final dance, “Revelations.”

“Revelations” captured my attention the most, as most other people would agree. I can go on and on about every aspect of this dance that I loved but that wouldn’t make this a review. The bright yellow dresses, the fans, the white costumes, the umbrella, and the red and black costumes were all just additions to what really made this dance stand out.

In “Revelations”, all the dancers weren’t African-American. There were other races dancing onstage. Although the dance was choreographed to represent different parts of an African-American life, the dance incorporated all dancers to show the way society has changed. There are more opportunities presented to all minorities. There are more successful professional dancers that aren’t Caucasian. And moreover, they were all a part of a dance company, a family. I could not help but smile with the people onstage. I knew they enjoyed every minute they were onstage. I knew the audience was enjoying this happiness emitted through the bright smiles of all the dancers. In the final song, “Rocka My Soul in the Bosom of Abraham,” I could feel the passion and I simply, was mesmerized by it.

I realized why the Alvin Ailey dance company was such a success. They gave opportunities to such talented, underrated people. Then within the company, relationships were built into a family that shared the same passion of dancing. Someday, I hope that I will find something I have a passion for just like the dancers of Alvin Ailey.