The emo and electronic music of 1980s British New Wave band Tears for Fears is the unlikely, yet oddly compelling basis for “LOVETRAIN2020», a cathartic evening of dance by the Israeli choreographer Emmanuel Gat (BAM‘s Howard Gilman Opera House, December 1-3). I don’t know what I like more: the sumptuously deconstructed costumes, the morose voices or the irregular way in which the dancers move in space, like glamorous but disheveled creatures of the night.
The recurrence of Alvin Ailey American Dance Theater the annual season, at New York City Center (Nov. 30-Dec. 24), is a reliable source of joy, with its heartwarming mix of Ailey classics – the soulful “Revelations”; the 1962 solo “Reflections in D,” a meditation on Duke Ellington, and new works. This year, the company unveils a dance by Kyle Abraham, whose silky and changing choreography is particularly current: “Are You in Your Feelings?”, on a mixture of soul, hip-hop and R. & B. ., premieres on December 2.
Joyce’s upcoming season showcases the variety that exists within American dance and illustrates her indebtedness to African American dance forms. Dance Dorrance (December 7-18), led by tap dancer Michelle Dorrance, presents two new creations, one of which features body percussion by an ensemble of women, all longtime show veterans.”to crush.” Ronald K. Brown/EVIDENCE (January 17-22), a company that fuses the groove of African-American vernacular dance with the through-the-body impulse of African dance, presents one of Brown’s most political works to date, “The Equality of Night and Day”, set to music by Jason Moran and lyrics by Angela Davis. The hip-hop innovator Rennie Harris (February 7-12) brings to life his 2000 work “Rome and Jewels”, a retelling of Shakespeare’s “cursed homeys” tale, set in Philadelphia in the seventies.
During this time, at New York City Ballet (David H. Koch, Jan. 17-Feb. 26), choreographer Justin Peck tries his hand at a one-night ballet (his first, as yet untitled), to a montage of pieces by Aaron Copland. The designs are by Jeffrey Gibson, a visual artist of Choctaw and Cherokee descent, whose intricate, richly colored art incorporates Native American themes and techniques such as beadwork. The company also revisits one of Alexei Ratmansky’s most unusual ballets, ‘Voices’, in which five dancers perform solos that look like miniature portraits, each echoing the timbre and intonation of a female voice. different. ♦