Des Moines Performing Arts kicked off their 2026/27 Dance Series, welcoming the second company of the renowned Alvin Ailey American Dance Theater, Ailey II, to the Civic Center stage on Oct. 27. The dance company features the next generation of dancers, but don’t let their age deceive you. The young, talented performers of Ailey II are forging their own path forward while paying homage to the legacies of those that came before them, and I suspect they inspired many fledgling dancers in the audience to follow in their footsteps.
The performance opened with In Session. The stage was transformed into a classroom with large windows projected on a stark backdrop. The dancers wore deconstructed school uniforms, designed by Katie Chihaby, that mimicked strict dress code requirements while allowing the performers to freely move. Aja M. Jackson’s lighting design transitioned from oppressive gray to vibrant color as the students navigated their educational journeys. The music by Darryl J. Hoffman was a mixture of interview recordings and songs by Doechii.
Often, the dancers would lip sync the lyrics as they performed, embodying the rapper’s words much to the audience’s delight. At times, the soundtrack would dwindle entirely and the ensemble would provide their own accompaniment via clapping. Rena Butler’s choreography showcased a variety of styles, including hip hop, contemporary and stepping. While there were serious themes within the narrative, Butler incorporated playful touches of humor. The dancers made full use of the stage, creating levels of movement in each scene. Whether posing on the floor or lifting a partner high into the air, the ensemble was always cohesive and always in motion. By the end of the piece, the classroom windows vanished, and an unobstructed sky of blue appeared. The dancers embraced this freedom, ending the piece on a hopeful high.
Three dancers emerged, clad in costumes that coincidentally matched the color of the theater chairs for the second offering on the program, Third Person Point of View. This trio included Kamani Abu, Jada Ammons and a dancer from Ames, Michelle Osanya. My’Kal Stomile’s choreography explored different combinations of three bodies, arms entwining as they were drawn together then pulled apart. The three dancers demonstrated seamless collaboration whether moving as a unit or separate entities. The lighting flashed on and off throughout the piece, and each time the dancers would reappear in a new, elaborate position in a different section of the stage. The effect was that of a camera capturing a moment before the dancers burst into motion once more.
The theater time-traveled back to the late ’70s for Flight Time. Choreographed by Alvin Ailey himself and restaged by Masazumi Chaya, this piece was a retro romp featuring two lead dancers, Adanna Smalls and Eric J. Vidaña, and an ensemble of six. The costumes, designed by A. Christina Giannini, evoked island vacation vibes with tight pink pants and floral skirts. The choreography was fun and flirtatious with lots of body rolls. The entire dance felt like a prolonged mating ritual that would put even the most coordinated tropical birds to shame.
Choreographed by Alvin Ailey and set to traditional gospel music, the grand finale was Revelations. Ailey’s timeless masterpiece sees its performers undergo a spiritual journey in three distinct movements. The first, Pilgrim of Sorrow, was grounded and penitent. Dancers were dressed in humble shades of brown as they bent down low then reached for the heavens.
The third song in this movement, “Fix Me, Jesus,” was a stunning duet between Jada Ammons and Christian Butts. The pair demonstrated breathtaking control and subtle strength with each slow extension and graceful lift. The second movement, Take Me to the Water, was infectiously joyful, opening with a procession of dancers clad in white. The choreography employed a variety of props, including a large umbrella and long strips of blue fabric that simulated waves across the stage. Eric J. Vidaña performed a captivating solo in the third song in this movement, “I Wanna Be Ready.” Vidaña showed impressive control and artistry; my abs hurt just watching the dancer hold gravity-defying poses for impossible lengths of time.
The third movement, Move, Members, Move, was a delicious shock to the system after its meditative predecessors. The opening song, “Sinner Man,” featured a trio of dancers — Jaydin Javier De Jesús, Christian Butts, and Vic E. Davis — that brought an exhilarating energy to the stage. The last song, “Rocka My Soul in the Bosom of Abraham,” was an exuberant celebration. Dancers wore their Sunday best, dressed in vibrant yellows as they donned large hats and waved church fans. The ensemble’s enthusiasm was undeniable as they reached the big finish, and after they took their bows, the company launched into an encore of the final number, encouraging the audience to clap along to the beat.
Ailey II’s emotionally gripping and technically challenging program drew a diverse crowd of devoted Dance Series subscribers and lots of fresh new fans. The enthusiasm of the younger audience members was a testament to the power of seeing their peers onstage, and the dancers embraced that connection wholeheartedly. Without a doubt, the talented artists of Ailey II proved the future of dance is bright indeed.
