Jacob’s Pillow, Becket, MA
through August 25, 2024
by Josephine Sarnelli
Dance Theatre of Harlem has remained true to its classical ballet roots, while breathing life into this program with infusions of R&B and funk. The versatility of this dance company allowed for a brilliant and varied program from four diverse choreographers.
To open the program, Robert Garland, new Artistic Director of DTH, choreographed “Higher Ground” to several genius works of Stevie Wonder. Although written half a century ago, the lyrics of the songs remain relevant in addressing socioeconomic and political issues. A thought-provoking program note written by Garland reads, “Higher Ground represents a Sankofa-esque reflection on our current time.” Sankofa is a Ghanian word meaning to go back for what you have forgotten behind or learning from the past. Garland may be referring to this on a cultural level, but possibly also to DTH’s mission of making ballet attainable to all. The optimistic lyrics of the song for which the piece is named address reincarnation and a second chance at life. This, too, could be referring to our global state of affairs or to DTH, in particular.
The classical training of the six dancers provided outstanding en pointe work and partnering. There were numerous overhead lifts, cabrioles and grand jetes to satisfy traditional ballet audiences, blended with jazz-like movements in keeping with the contemporary nature of the music. The choreographer brought the dancers together at the crossroads of ballet, funk and soul.
“Take Me With You,” a short duet choreographed by Robert Bondara, relied heavily on the athleticism and connection between performers Delaney Washington and Derek Brockington. Set to Radiohead’s “Reckoner,” the dance’s entrance and exit offer haunting acapella clapping. Unusually complex lifts were masterfully executed as their bodies seamlessly unite only to separate again. As with “Higher Ground,” this choreography might be making a commentary on world struggles or on a more simplistic level examining the cycles of interpersonal relationships.
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| Photo by Christopher Duggan |
Balanchine’s “Allegro Brillante” was an exuberant performance to Tchaikovsky’s “Piano Concerto No.3.” With only eight dancers performing for 13 minutes, the piece is a concentrated indulgence into classical Russian ballet style. It was joyful and an excellent complement to the other nontraditional offerings in the program.
“Blake Works IV (The Barre Project, 2023),” choreographed by William Forsythe to songs written by James Blake, closed off the program. With its start date during the pandemic, the original choreography was created over Zoom and echoes back to the isolation of that period. Dancers entered and exited singly to a ballet barre located at the back of the stage. The distance of the barre from the audience and lack of connection of the performers with one another was appropriate for the pandemic era but grew monotonous for a live audience. The dancers performed exquisitely, but in a vacuum, to the soulful music.
Sankofa is symbolized by a bird that has its grounded feet facing forward, while holding an egg in its mouth as it looks backwards. Dance Theatre of Harlem remains faithful to its founders’ mission of ensuring classical ballet is accessible to all, while keeping it relevant for a new generation.
