Ronald K. Brown/Evidence: A Dance Company – 2025 Winter Season

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What a difference a week makes at The Joyce Theater.

Last week the exquisite Ragamala Dance Company displayed the rigorous, yet delicate, discipline of Indian classical dance.

This week Ronald K. Brown/Evidence exploded across the Joyce stage with its energetic mix of several forms of African dance, Brazilian Capoeira, modern dance and a touch of ballet.  Both troupes were equally disciplined but totally different.

The Brooklyn-based Evidence troupe was celebrating its 40^th Anniversary, a remarkable achievement.  Their program gave ample evidence of why this company has endured.

All the choreography was by Brown, himself.  There were two programs.  I saw Program A.

“Serving Nia” (2001) was the first work.  Originally staged for the Alvin Ailey American Dance Theater (as was the third work, “Grace”), “Nia” was a good first look at the troupe for those who’ve never seen them.

Set to smoothly rhythmic, witty music by Roy Brooks and Dizzy Gillespie, the work opened effectively with a group of dancers in silhouette.  As the lights—by Tsubasa Kamei—rose to reveal their pale, loose costumes—by Omotaya Wunmi Olaiya—they dispersed into solos and duets, their arms flung out, torsos twisting and feet pounding.

Gradually “Nia” took on a discernible shape as the dancers, at first, agitatedly using every part of their bodies, from kicking feet to rhythmically bobbing heads, then slowly morphed into more open, upbeat movements.  They went from a nervous unease to an upbeat feeling of a village at ease in this desert landscape.

The second work, “Order My Steps (2005),” was inadvertently the most moving due to an uplifting poem by the late Chadwick Boseman read by his brother Kevin.  Repeating the line “make war on yourself,” it came in the middle of “Order” which is set to a Reggae inspired score by Terry Riley, Bob Marley and David Ivey.  The theme of “Order My Steps” appears to be finding solace after some sort of upset.

The best constructed work was the finale, “Grace” (1999), in which Brown created a Goddess figure come down from Heaven “to spread grace among humans.”  In addition to a score by Duke Ellington, Roy Davis, Jr. and Fela Anikulapo Kuti which went from darkly dreamlike to upbeat, guest vocalist Gordon Chambers sang an uplifting soulful, spiritual number as the angel-like lead ushered the cast through a portal to their ultimate fate: heaven.

Was it my imagination or did the dancers costumed in red change into the white of the rest of the cast as they exited?  Was this, perhaps, a symbol of the acceptance of …grace?  Costumes were by Omotaya Wunmi Olaiya.

Brown’s works have a great deal in common.  They all appear to be about a community overcoming the negative to voyage to the positive.  All have a spiritual underpinning.  And all use his hyperactive, non-stop pile up of movements.  Perhaps a contemplative pause would add an element of thoughtfulness to his choreography, something he almost achieved in the ending of “Grace” when the dancers calmly glided off to meet their fate.

That said, his dancers exude energy and style and, most importantly, they are without a doubt a Company eager to be in the company of Brown and his creations.

Ronald K. Brown/Evidence: A Dance Company -2025 Winter Season  (through January 19, 2025)

The Joyce Theater, 175 Eighth Avenue, in Manhattan

For tickets, call 212-242-0800 or visit http://www.Joyce.org

Running time: one hour and 45 minutes including one intermission