Everyone’s doing it. So I present to you 25 things– not about me– but about Alvin Ailey’s 50th Anniversary performance at the Kennedy Center on February 4. It took me a while to get it up, but I promised I would!

  1. I prefer Ailey as a repertory company. It was educational to see an all-Ailey choreographed program, but there are only so many torso contractions and grande plies in second one can watch in an evening.
  2. It is incredible how Revelations stays fresh after so many performances. Among many highlights, it was the highlight of the evening.
  3. I think one of their secrets is mixing up the dancers’ roles in Revelations each season.
  4. Torso contractions and grande plies in second never feel tired in Revelations.
  5. Revelations’ Wade in the Water is like a hot summer evening and deliciously refreshing on a cold winter night.
  6. If I’m only allowed to see one more thing before I die, it will be Revelations’ Sinner Man. What an amazing explosion of movement. I don’t know of anything that explores the range and ability of the human body while combining musicality and passion that just explode on stage so much as this.
  7. I could have done without the lady on my left’s strong perfume and the sounds and smells of the lady to my right’s munching on peanuts throughout the show.
  8. They packed in a lot of different excerpts of pieces into this program– lots of short excerpts, and the transitions were way too fast. Often, one dancer would be starting in on the next piece while the other was finishing up the previous one. It was too jarring and left no time to absorb what I just saw. If time was the issue, I would have preferred fewer, longer excerpts, with longer pauses in between to allow the audience to catch its breath.
  9. Linda Celeste Sims in The Lark Ascending was some of the most pure, delicious dancing I’ve ever seen. At the end, I realized I’d been holding my breath the whole time.
  10. I have said delicious twice in this list.
  11. I’ll tell you what else is delicious– the entire Alvin Ailey American Dance Theatre company. Such beautiful bodies; such beautiful dancers.
  12. I’m glad I went to the gym right before the show. It made me feel just a little bit better about my, er, succulent body.
  13. I’ll tell you wo else was eye candy: Kirven Boyd and Matthew Rushing in Streams.
  14. One of the longer excerpts of the evening was Movement II from Night Creature. It was absolutely delightful.
  15. Night Creature  is all about the party (literally, the piece depicts a nighttime bash) as a whole, each member as part of the party, and how they become one and separate. It ius a corps de ballet piece where each member’s personality and style shine through rather than the cookie cutter corps we typically think of. I don’t think Ailey could do it any other way.
  16. I’m not a fan of pretending to play a musical instrument, particularly when you don’t know how to play the instrument. This, unfortunately, is the premise of A Night in Tunisia from For “Bird” With Love, in which male dancers pretend to be members of a jazz combo in a nightclub.
  17. Fortunately, the “musicians” break free of their miming in short order and dance to the sound the instrument makes in the music.
  18. No dancer better embodied his instrument that Guillermo Asca as the bass player. He danced just the way a bass sounds with a sublime quality of movement. I didn’t even know a bass sound danced that way, but I know now.
  19. Opus McShann— the excerpt was Jumpin’ the Blues— was a straight up swing dance set with lots of shines. It was what numbers at a salsa (or swing) congress could be if they were really good. Not saying that there aren’t really good numbers at a salsa congress, but they are few and far between.
  20. There was some sort of motorcade outside and I got excited hoping it would be a senator or cabinet member (the President was ruled out as the motorcade did not contain an ambulance). Disappointingly, it was no one I recognized. Probably a diplomat with an importance complex.
  21. The audience gave a standing ovation for probably at least ten minutes. They knew if they kept at it long enough they would get an encore, and we did.
  22. After an evening of many many pieces performed to recorded music, I appreciate live music even more. Amazing as the dancing was, something was taken away by the all-recorded soundtrack.
  23. Big thank you to my parents without whose give of a Kennedy Center gift certificate last year would not have gotten me such an amazing close-up seat.
  24. Readers, what do you think of dance review in 25-things format? Or is this just bad?
  25. The end.
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