Interludes

THE HANGOVER REPORT – DANCE THEATRE OF HARLEM reaches for cross-over appeal in its opening program at City Center

• By drediman
• April 20, 2023
• No Comments

Last night, I attended the opening night performance of Dance Theatre of Harlem’s spring performances at New York City Center. It was a bittersweet occasion, marking the storied company’s first public performance since the announcement of Virginia Johnson’s decision to step down as artistic director later this year (Johnson committed to and succeeded in rebuilding the company when she started in the role in 2010). In July, the company’s longtime resident choreographer Robert Garland steps up as DTH’s artistic director.

The opening night bill saw the company reaching for cross-over appeal in its continuing evolution. The eclectic performance began with two ballets straight from New York City Ballet’s repertoire – George Balanchine’s dynamic, succinct classic Allegro Brilliante and Christopher Wheeldon’s moving pas de deuxTbis Bitter Earth. In the former, the DTH dancers floated through Balanchine’s difficult choreography, showing off their fine underlying classical ballet technique, gorgeous lines, and joyful musicality (I did, however, miss the live musical accompaniment from City Ballet’s orchestra). In the latter – which is set to Dinah Washington’s exquisitely melancholy vocals – Yinet Fernandez and Dylan Santos danced prettily but were, as of yet, unable to tap into the dance’s deep sadness.

The program continued with the New York premiere of Sounds of Hazel, a ballet by Tiffany Rea-Fisher celebrating the life and times of relatively unknown trailblazer Hazel Scott, who in her day was a notable musician and activist. Set to a lively new score by Erica Blunt, the piece – which was preceded by a short but informative introductory film about the ballet and the woman upon which it is based – is a vaguely chronological depiction of Scott’s life, beginning with her origins in Trinidad, to her rising stardom in New York, and finally to her time in Paris later on in life. Although I thought the work was generally uneven and only occasionally compelling, there’s no denying Rea-Fisher’s workmanlike craft. Highlights included the affecting “What America Means to Me” segment, as well as any onstage appearances by the effervescent Daphne Marcelle Lee (which were too far and in between).

Perhaps best of all was the evening’s closer – William Forsythe’s rousing Blake Works IV (The Barre Project). One of the standout dances choreographed and streamed during the pandemic, it’s since grown into a bonafide crowd-pleaser on the stage (it was last performed by Tiler Peck and company on the very same stage). Set to the instantly catchy electronic music by James Blake, the dance is comprised of a series of scintillating solos, as well as a wonderfully rhythmic duet that has all but gone viral. The work now features a exuberant new ensemble finale that left last night’s audience on cloud nine. Throughout, the DTH dancers performed with strength, style, and abundant attitude, making it seem as if Forsythe’s work was choreographed specifically for them.

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DANCE THEATRE OF HARLEM
Dance
New York City Center
Approximately 2 hours (with two intermissions)
Through April 23