IMPRESSIONS: Ronald K. Brown/EVIDENCE Celebrates 40 Years

Artistic Director: Ronald K. Brown
Associate Artistic Director: Arcell Cabuag
Choreography: Ronald K. Brown | “Serving Nia” choreography: Ronald K. Brown with Arcel Cabuag
Dancers: Demetrius Burns, Stephanie Chronopoulos, Austin Warren Coats, Gregory Hamilton, Isaiah K. Harvey, Shaylin D. Watson
Guest Artists:Kevin Boseman, Shayla Alayre Caldwell, Khalia Campbell, Gordon Chambers, Valériane Louisy, Clarice Young
Date: January 14th 2025
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Faith, vulnerability, and fortitude unite in Ronald K. Brown/EVIDENCE’s 2025 annual home season at The Joyce Theater. Celebrating 40 years of dynamic, expressive movement and a singular melding of African, Afro-Cuban and contemporary dance, this Brooklyn-based company’s triple bill program had us cheering throughout.
EVIDENCE’s artists captivate us. Through rapidly paced and quieter scenes, and everything in between, they dance with abandon, joy, and truth. In unison moments, they are wholeheartedly together, both technically and spiritually. Fellowship permeates the evening.
“Serving Nia” (2001) carries us into the faith-driven nature of Brown’s works from the get-go. The dance, originally created on Alvin Ailey American Dance Theater as a sequel to Brown’s seminal “Grace,” made its EVIDENCE debut this season. “We are excited to revisit and share this work for EVIDENCE’s company premiere in honor of the extraordinary life of Judith Jamison,” a program note reads.

Blending rich dance forms from the United States, Senegal, and Cote d’Ivoire (“Nia” means “purpose” in Swahili) “Serving Nia” captures and emphasizes the need to find one’s purpose in life. Erupting from the piece’s opening silhouetted circle, eight dancers build communal ties through buoyant, expansive movements. Between canons filled with suspending turns, hitch-kicks and sweeping descents to the floor, the dancers’ connections are clear. Hands rest on hearts. Eyes reach out to fellow movers and to the heavens. Determination radiates. Company artist Gregory Hamilton, in multiple solos, commendably depicts the drive to an intentional life with both exuberant leaps and soft, slow steps.

Shaylin Watson & Company in "Order My Steps." Photo: J Boogie Photography
“Order My Steps” was “originally inspired by the idea of stumbling along one’s path.” The piece pointedly speaks of addiction, and the experience of navigating an internal war with oneself. Guest artist Kevin Boseman (an actor, singer, dancer, choreographer, writer and speaker) offers a truly personal performance in this work. His dancing as well as his moving recitation of poetry-written by his late brother, the beloved actor Chadwick Boseman-resonate.
Boseman, alongside seven EVIDENCE artists, moves within a multitude of scenes. His sensitive opening solo soon transitions into a high-energy group section performed against a bright red backdrop. The world on stage stills as he speaks his brother’s words.

Boseman talks of struggle, fear, and recovery while framed by the dancers. In cascades of running, kneeling, crawling and turning, the company moves as one. Describing the depth of Boseman’s words with their bodies, they melt, undulate, and unite in prayer. Their steadfast approach speaks as loudly as their most virtuosic movements.

“Grace,” celebrating its 25th anniversary, is Brown’s 1999 masterwork and was his first commission for the Alvin Ailey American Dance Theater. The dance concludes the evening in blazing passion, with Shayla Alayre Caldwell driving the movement. Alayre Caldwell powerfully portrays a goddess’ journey to Earth to spread grace among humans. Clad in all-white, she dances alongside the company who represent angels and humans (angels, dressed in white; humans, in red). “Grace’s” pulse echoes a heartbeat, and its dancing artists propel through space with fiery jumps, turns, and suspensions which eventually lead them to grace’s blessed state.