The figures in Donald Byrd’s Burlesque inhabit a world of faded dreams poised against the lustrous elegance of songs by Louis Armstrong. These animated 1920s personalities call to mind images of a time gone by, when disillusioned but spirited performers inhabited a gritty theatrical underworld. First set on Byrd’s own company - Donald Byrd/The Group - in 2002, this dramatic piece adds another dimension to Alvin Ailey American Dance Theater’s already diverse repertoire. Byrd reminisced, “In the beginning of Alvin Ailey American Dance Theater, theatricality was a significant part of its presentation.” He hopes Burlesque will contribute to Alvin Ailey American Dance Theater’s longstanding tradition of preserving the theatricality of dance.

According to Byrd, “Many choreographers come into Ailey and are completely mesmerized and enamored by their technique.” Byrd understands the importance of working past this spellbinding phase. It is crucial that a choreographer challenges himself choreographically, but more importantly, that he attempts to stimulate and stretch the dancers, technically and creatively. Having previously choreographed for and set several pieces on the Company, including the highly-praised Dance at the Gym, Byrd is well aware of how difficult this task always is with the extraordinarily talented Ailey dancers. Byrd plans to have the dancers draw upon different aspects of their technique in order to portray the various “character types” in Burlesque.

The theatricality of Burlesque is propelled by a rousing Louis Armstrong score. Byrd explains, “This music was the beginning of jazz as we know it. It was played during a time period when jazz was meant to be danced to, not sat and listened to. The humorous style, wit and intelligence of the music transfers choreographically.” Part of the difficulty of being attracted to and fascinated by such a musical legend is developing choreography that is compatible with such high caliber music. Byrd comments on his choreographic challenge, “How do you put dancing to the brilliance of Armstrong’s music and not have the choreography be overwhelmed by the music and vice versa?”

Byrd conquered this challenge by attempting to resolve and unite his differing images of Armstrong. “How does one reconcile and come to terms with the brilliance of Louis Armstrong as a child and the buffoonish image from Hello, Dolly!?” Byrd hopes audience members will find the same dilemma in his work and will attempt to reconcile the visual dramatics they are seeing with the genius that is not apparent to them. The theme behind it all is illusion. “Theater is simply a big illusion. Behind the smiles and high leaps and endless spinning, there’s sadness, intrigue, exhaustion…” Yet the charade continues because ultimately, regardless of what one may desire, the show must go on.

Byrd believes this same philosophy applies to life. He expects people will recognize the similarity between what they are viewing on stage and what is occurring in their own lives. Burlesque is a metaphor for life and for the illusion and need for continuity that is present in theater and life alike.