Last weekend I had the opportunity to catch the Dance Theatre of Harlem perform at the University of Notre Dame’s DeBartolo Performing Arts Center. The troupe did two performances that day and I was thrilled to see that the evening one was a sellout.
There were three segments in this program. The first was a medley of Stevie Wonder hits titled “Higher Ground”. The messaging in the lyrics resonated strong emotions to match the dancing imagery. The first song demanded the audience “Look Around” and “you’ll see human history”. The next song chosen was written in 1974 and feels still relevant today. These lyrics are potent:
But we are sick and tired of hearing your songTellin’ how you are gonna change right from wrong‘Cause if you really want to hear our viewsYou haven’t done nothin’
The choreography is a mix of classical ballet and diverse dance disciplines so their style is modern and interesting. As the show progressed there was a notable lack of cohesion in group numbers particularly in the title song which closed this segment. When the soloists hit the stage in “Heaven is Ten Zillion Light Years Away” everything improved dramatically.
From that point the first segment continued improving. “Village Ghetto Land” included a broken glass is everywhere ballet. “Saturn” featured a sweet duet with stimulating lifts and jumps while the words conveyed “people don’t even know what they’re dying for”. This tune from Mr. Wonders’ classic Songs In the Key of Life album had a ripped from yesterday’s headlines moment declaiming “We can’t trust you when you take a stand / With a gun and bible in your hand”.
A video opened the second section which gave context to the next dance. Hazel Scott was a Trinidadian jazz and classical pianist who had her own television show in 1950. She was the first black American to do so. I had never heard of her as some of the artistic directors of the troupe also noted. She was famous for being able to play two pianos at one time using two hands.
Ms. Scott was an outspoken critic of segregation and racial discrimination. Of course she had to testify at the McCarthy era’s House of Un-American Activities Committee. Her weekly show was cancelled one week later and she was essentially erased from what the video described as Beyoncé level famous.
As mentally engaged as I was after this introduction, the choreography honoring this woman was underwhelming. The progression took us from her “Trinidad” beginnings to a lacking passion “Harlem” followed by “Hazel Herself”. This particular song especially perplexed as the fast almost staccato like piano seem to have no connection to the movement of the dancer. A few more numbers followed in this recently premiered piece.
Thankfully the final section was a triumph and, not incidentally, showcased more dancers in solo pieces. “Black Works IV (The Barre Project)” by William Forsythe was an exuberant piece with an electronic composition by James Blake that was evocative, moody and nicely atonal. The choreography here was remarkable both for the ability of these dancers to count the complicated time structure as well as show off their excellent skills.
While the program as a whole was a mixed bag there was much to digest making the evening an emotional success. “We cannot advocate for people in other lands what we don’t have here”. Only those with blinders on cannot empathize with those words from “What America Means to Me”.
The Dance Theatre of Harlem is touring through May in various locations in celebration of its 55th anniversary season.
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