Dance Theatre of Harlem - Review
Breaking stereotypes, Dance Theatre of Harlem opens ballet wide to explore the traditional and the novel. Flawless technique bound together with exuberant passion—it was easy to see why DTH is world class!
Is it possible to add more praise to the illustrious Dance Theatre of Harlem? Their performance at ASU Gammage was nothing short of spectacular. DTH proved that ballet can be more than just tights and point-shoes!
Divided into three sets, their current traveling production eloquently captured the entire creative range that ballet can do. Their performance began with the traditional Agon, created by 20th century choreographer George Balanchine and composer Igor Stravinsky.
This piece highlighted the golden age of ballet. Graceful and fluid, it was exactly what most people think of when it comes to ballet.
Yet it was the second two sets that really stole the show. Past-carry-forward, paid homage to the Great Migration of African Americans in the early 1900s.
Touching upon the African American experience the choreography flowed through the Harlem Renaissance, to the segregation of the military, and the relegation to “menial” jobs. Concluding concluded with a powerful interpretive dance, past-carry-forward left the audience to decide where the story goes next. It was powerful and incredibly moving.
The final set, Return, injected the whole Gammage theatre with funk and soul. Ballet got down and funky with songs by James brown and Aretha Franklin. The swanky finale was a perfect way to tie together what DTH is all about: creating daring and original performances. DTH continues to prove that ballet can bend in new ways.
Executive Director: Laveen Naidu
Artistic Director: Virginia Johnson
Producer: Dance Theatre of Harlem
Ballet Master: Keith Saunders
Is it possible to add more praise to the illustrious Dance Theatre of Harlem? Their performance at ASU Gammage was nothing short of spectacular. DTH proved that ballet can be more than just tights and point-shoes!
Divided into three sets, their current traveling production eloquently captured the entire creative range that ballet can do. Their performance began with the traditional Agon, created by 20th century choreographer George Balanchine and composer Igor Stravinsky.
This piece highlighted the golden age of ballet. Graceful and fluid, it was exactly what most people think of when it comes to ballet.
Yet it was the second two sets that really stole the show. Past-carry-forward, paid homage to the Great Migration of African Americans in the early 1900s.
Touching upon the African American experience the choreography flowed through the Harlem Renaissance, to the segregation of the military, and the relegation to “menial” jobs. Concluding concluded with a powerful interpretive dance, past-carry-forward left the audience to decide where the story goes next. It was powerful and incredibly moving.
The final set, Return, injected the whole Gammage theatre with funk and soul. Ballet got down and funky with songs by James brown and Aretha Franklin. The swanky finale was a perfect way to tie together what DTH is all about: creating daring and original performances. DTH continues to prove that ballet can bend in new ways.
Executive Director: Laveen Naidu
Artistic Director: Virginia Johnson
Producer: Dance Theatre of Harlem
Ballet Master: Keith Saunders
Published October 26, 2014
