By Walter Rutledge
When Robert Battle discussed Under the Rhythm prior to the Paul Taylor Dance Company New York season the poignant story of his upbringing was inspiring. Dessie Williams, his mother by choice, introduced him to the arts and encouraged his terpsichorean journey. The nonagenarian still plays the piano at the same church little Robert attended.
I assumed the homage would be a collection of gospel and spiritual songs neatly knitted together like grandma’s shawl. Well, I assumed wrong! Under the Rhythm is a fun, rousingly syncopated jazz fest. It also explains Battle’s love of Jazz, the American art formed that evolved from the sounds and rhythms of slave songs and spirituals.
Gordon’s New Orleans’ style version of the spiritual Down by the Riverside opened the performance. Pre-Civil War the spirituals were more than an inspirational song of hope and faith, they were a coded language for escaping slavery. Under the Rhythm began with Devin Louis stepping forward downstage center breaking the uniformity of the line of fifteen dancers that stretched from wing to wing.
He began a series of arm gestures; some angular, others symmetrical and smooth, all perfectly framed by the music. Three other dancers joined, then another group until all were moving in the same gestural language. The group staggered into two lines and continued their chorus of movement in unison.
Initially the minimalist approach coupled with the monochromatic costumes (consisting of black shoes, black suspendered pants, bowler hats, and white dress shirts) appeared austere. Quickly the austerity evolved into economy. This continued into the second movement, a solo performed by Patrick Gamble.
Supple floor work, generous extensions and time suspending jumps were executed downstage of a backdrop/tableau of six male dancers. Clad only in gold colored pants Gamble’s expansive movement was in deliberate contrast to the more restrained bowler wearing chorus. No strange to Battle’s choreographic idiosyncrasies Gamble has performed in three of his works while a member of Ailey II. A particularly impactful moment occurred when Gamble simply walked upstage, and his back continued to draw us into his presence.
Ermira Mitre Kokomari’s text performed by Battle and Williams became the vocal accompaniment to Clapping Music by Steve Reich and Russell Hartenberger. The rhythmic precision of both the choreography and dancer’s execution were showcased in this ensemble section. This was made possible by the freedom of the recitation set against the tight percussive cadence aided by Damain Bassman’s drumming section, the combined harmony produced a message driven polyrhythmic score.
At times, the movement style and energy recalled dance numbers from 1930’s/40’s films featuring black performers. Low scampering runs, that reoccurred throughout were used mainly as comic relief. While period vernacular/vaudevillian movement and energy permeated the work.
The scatting style of Ella Fitzgerald has always been a personal passion of choreographer Battle. His 2016 Ella, set to her live recording of Air Mail Special, was a virtuoso male duet. His present interpretation of that Fitzgerald jazz chestnut seemed to step off the Apollo stage back when the performers did five shows a day. Syncopated footwork, tight unison, explosive movement, and falls and drops with great abandon, all signatures of Battle were decked out in bright red tuxedo with tails. A strategic mix of competition and camaraderie allowed Alex Clayton and Lee Duveneck to both wowed and beguile the audience.
The apex of the work was a duet set to Wycliffe Gordon’s rendition of the Lord’s Prayer. Devin Louis and Jessica Ferretti offered a dramatic yet introspective approach, which was more about what they didn’t do. More abstract than dance theatre the work was void of the usual saccharine gestures and ardent/longing stares. Instead, the pas de duet was dominated by a mixture of individual adagio passages interspersed with plastique inspired partnering.
The final pose could have been the culminating imagery of the work, but why not go out with a bang! And the ensemble is recalled in their black and white regalia one more time. Thank you for putting a “button” on the ending. In other words, instead of the music fading out as the lights dim, we got a crescendo then blackout.
All art is autobiographic. This is Battle’s third love letter; first Searchlight honoring Denise Jefferson, then the solo Dedicated to You for Carolina Adams. In Under the Rhythm Battle shares his Cyrano spirit once again.
In Photo: 1. Walter Rutledge and Robert Battle 2. Patrick Gamble 3. Alex Clayton and Lee Duveneck 4. Devin Louis and Jessica Ferretti 5. Robert Battle and Company
Photo by: 1. Adewale Adekanbi Jr. , 2-4. Ron Thiele 5. Marin Harss
